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MagicDeathEye
Everybody who has ever had a chance to listen to a MagicDeathEye compressor has been blown away by its sound. Carefully designed by Mr. Ian Sefchick (mastering engineer at Capitol Records), this tube compressor’s circuit is loosely based on a Fairchild 660. It’s a variable gain compressor that sounds just as great on your mastering bus as on your individual tracks. Nothing is smashed here, everything breathes and shines while the MagicDeathEye will smoothly glue your audio signal together in that warm and almost elegant way only expensive tube compressors can.
Already now a legendary piece of hardware, the MagicDeathEye compressor is just too good to be exclusively available only to some of the greatest studios in the world. After almost a year of careful circuit and signal analysis, DDMF and Ian Sefchick are extremely proud to present the official plugin version of this lovely beast! Staying extremely close to its hardware role model while still keeping the CPU load at a very reasonable level, we sincerely believe that the answer to the ever-old question “Do I really need another compressor plugin” is a resounding yes for this one!
Important: while this plugin models the mono hardware compressor, the software offers both mono and stereo operation (with identical gain reduction for both channels)! So don’t be confused by the other MagicDeathEye emulation being called “MagicDeathEyeStereo”, that simply refers to the original hardware… this plugin can do stereo too!
We could go on and on here, telling you all about the extremely interesting technical details like the eight(!) tubes that are being used, the handwound transformers and so on, but we think it’s about time you simply give this fantastic tool a spin and hear for yourself what the buzz is all about. We hope you’ll enjoy the ride!
Available in 32 and 64 bit format, as a VST, VST3, AU and AAX plugin. On Mac, OSX 10.7 or higher is required. Intel and Apple Silicon are both supported. The plugin is also available for iOS as a plugin in AUv3 format, which you can directly use in compatible hosts like Garageband or Cubasis…
DDMF Magic Death Eye
These two plug‑ins bring you the spirit of their 'unobtainium' hardware counterparts!
I first heard of the Magic Death Eye analogue compressor from an American mastering colleague who'd just taken delivery of one. Intrigued, I looked for more details but sadly soon found a few good reasons for me not to rush out and get one. First, designer/builder Ian Sefchick can only produce them when free from the demands of his mastering career at Capitol Records, so his output is both limited and irregular. Second, even if one were to become available, he doesn't make them for export outside the USA. Finally, the stereo version costs $8,800! That's actually not an unreasonable amount to ask for a superbly designed, hand-built vari‑mu compressor, but it is hardly chump change.
So when I learned that DDMF had created a plug‑in version, I quickly tried the demo. It was good, and within a couple of hours I'd bought it. Recently, DDMF released another 'stereo' Magic Death Eye plug‑in. I bought that one immediately too and both plug‑ins now have a home in my mastering workflow and have already been used on several professional projects.
There are versions for the common Mac OS (v10.8 or higher) and Windows (32- and 64-bit, v7 or higher) plug‑in formats, and an AUv3 version for iOS. Installation and activation on my Windows 10 and Sequoia 14 system was blessedly simple: the license is provided in a ZIP file, and you locate it when you first use the plug‑in. Sadly, I've no way to confirm how close the sound of the plug‑ins are to the originals, so I've had to assume a very close kinship and evaluate them on their own terms.
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It Takes Two
Despite the names, both Magic Death Eye plug‑ins are fully stereo in operation. One, which I'll refer to as MDE, is called 'Mono' because it is based on the mono version of the hardware; the 'Stereo' version (MDEST) is modelled after the stereo hardware unit. There are enough differences between the plug‑ins to consider having both in the toolbox, though their basic design is similar and you'd be unlikely to use them in the same chain.
Both have variable 'switched' input and threshold level controls, six fixed time-constant parameters (labelled 1 to 6, as on the Fairchilds that inspired the hardware MDEs) and fixed-frequency, switchable high-pass side-chain filters (set at 150Hz for the MDE; and at 200Hz for the MDEST). The MDEST has an additional Master output level knob, whereas the MDE's is hidden, and the MDEST has a 'Threshold Link' (which seems a bit confusing at first, as a single Threshold control applies to both channels, but in practice it does tighten things a bit).
Both models also have a GUI which is a painstakingly accurate representation of their respective hardware. The screw adjusters of the analogue originals don't all have a corresponding digital function, but some, along with the Magic Death Eye faceplate logo and the power lamp on the MDEST, have hidden software-only features. On the MDE, the logo switches in a 'Punch' mode (which changes the compression characteristics and adds a new graphic to the GR meter), and the screws between the input and threshold controls adjust Output level (-20 to +12 dB) and wet-dry mix (0 to 100 percent). For the MDEST, the MDE logo switches the upsampling rate from normal (Black) to x2 (light blue) to x4 (dark blue). The power lamp brings in the same Punch mode (now known as 'Laura', and indicated by the L meter label changing to the name). This time, the balance control screws adjust the harmonic content from the normal 50 percent (status lights orange) to 0 percent (green) and 100 percent (red). At present there's no wet/dry mix control on the MDEST.
The most significant difference between the two versions is that MDEST has a simple but interesting EQ section, which operates within the compression circuit. This includes a low-cut filter (off, 20 and 30 Hz), a switched LF boost (20, 40 and 100 Hz, with up to 5dB of boost in 1dB steps), and a switched HF boost (5, 12, and 18 kHz, also with 5dB of boost in 1dB steps). Right-clicking on the Low frequency control changes the low end to an elliptical filter, mono'd below the chosen frequency, and right-clicking on the High frequency control switches the EQ path from stereo to Mid or Sides.
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Reviews for "Where to Buy the Best 12 ft Witch Decorations: Home Depot vs. Competitors"
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I was really excited to get the "12 ft witch home depot" for my Halloween decorations, but unfortunately, it didn't live up to my expectations. The construction of the witch was not sturdy and it was difficult to assemble properly. Moreover, the paint job on the witch's face was not done properly, making it look more funny than scary. I was really hoping for a high-quality and spooky decoration, but this product fell short.
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The "12 ft witch home depot" was a letdown for me. The material it was made of felt cheap and easily breakable. The assembly process was also a hassle as the instructions were not clear. Additionally, the sizing of the witch was misleading. It was supposed to be 12 ft tall, but it seemed much smaller in person. Overall, I was not impressed with this Halloween decoration and would not recommend it to others.
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