Overloud Gem Dopamine

[Dimple Belousson]

Iuse classic white noise to analyze the frequency response to see what happens when the COMP control changes. The white noise is at -14 dBFS, the wet signal will be 100%, so I will only focus on the process of this device. In practice, of course, everyone will mix dry and wet as they want.

As far as the noise stressor module is concerned, the situation is the same, except that, with the same value (50%), the harmonics are in smaller quantities: therefore COMP must be increased to have a result similar to that shown in the image above.

This device is even easier to use than the previous one. As you can see, there is no control that controls dynamics, and at the far right there is simply a meter showing the amount of process I am applying.

So just mix DRY and WET to your liking and then adjust the general LEVEL level. It should also be noted that the lack of dynamics control does not imply a lack, in this device, of compression or otherwise of something that handles transients in a certain way. In fact, even in this case there is that snap character I was talking about before.

Here, too, there is an absolute prevalence of odd harmonics and the intensity of these (harmonic by harmonic) is similar to that of model 361. However, let us remember that, not having in this case a control similar to COMP, I cannot change the amount of harmonics to my liking; maybe i can try to lower / raise the level before entering the device.

Wanting to use a less "audiophile" term, I can say that the 180 model has an "eye" for medium-high and medium frequencies, while penalizing the low. We will be able to listen to the 100% wet audio signal to realize the bandwidth limitation of this device.

Both generate mostly odd harmonics and, I would add, in a non-artificial way, which a classic exciter does not do, for example. There is a certain naturalness in this type of intervention, but this does not imply a lack of character on the part of the devices.

Also keep in mind that there are few competitors offering plugins inspired by these noise reduction systems, two of these, among other things, are Italian. I must admit, however, that I have not had the opportunity to test these products, so I cannot express any kind of judgment about it.

So I'll try to clear the voice, emphasize the mid-high range of the bass, and finally always work on the bass, using this plugin as a bass - high enhancer and compressor. After all, let's not forget that this also acts as a dynamics processor; I will therefore exploit all its features.

The tracks have not been processed that much (excluding dopamine) so as not to distract attention from the plugin I am testing. Furthermore, the tracks were evaluated individually and not in the context of the mix.

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