Qmc's Effects

Although a lot can be done in the box today, some high quality hardware devices are still essential for great results.




We have made the experience that different compressors are required in one and the same piece of music and often even on the same track. On the one hand it is about controlling the transients, on the other hand it is about bringing out the quiet, organic structures and finally it is about the careful musical leveling of the music signal. We use a combination of different compressors both in the DAW and externally one behind the other. The Millennia compressors work either with tubes or transistor circuits with optoelectronics. The compression is extremely musical and mostly completely transparent. It is considered as an absolute top end representative of the musical variety. We also like to use the DBX 160 SL. DBX fought a real material battle with the 160 SL. When properly calibrated, the DBX has incredible technical specifications (127 dB dynamic range). Even without compression, it makes a very fine but large sound thanks to the two Jenssen transformers.


In addition to the compressor, the equalizer is the most important, basic tool for a sound engineer. Every device has its individual strengths and weaknesses. On the analog side, we like to use the Millennia NS EQ2. Its bass response is abysmal without smearing and its highs are silky, never intrusive and very clean. Due to its precise and wide controllability of the filter quality, this equalizer can be used for sound shaping as well as for specific corrections. By using either the transistor or the tube circuit, further subtle characteristics can be added. The Ramsa WZ DM 45 is a very good sounding digital equalizer that allows extremely precise parameterization and is therefore ideal for correcting individual frequency problems.

The SPL Tube Vitalizer takes a special position. It is a so-called program equalizer that shows its strengths in bus processing or in mastering. Its unmasking filters, as well as its filter curves that follow the Fletcher Munson equal loudness curves , can add value to the finished music signal when used properly, giving the mix a higher degree of listenability and shine.

We use other equalizers with different characters in the DAW.


Reverb brings context to a recording. It is not simply an effect to make a dry signal seem not so dry. Rather, the proper use of reverb gives the overall music a sense of space and gives instruments room and air both in width and depth. Incorrect use, however, will clutter up the mix.

Some reverbs are great for simulating rooms and halls, while others are more "dreamy". For decades, since 1985 to be exact, the Lexicon 480 L has been the standard for a larger than life charkter that fits perfectly into the mix. We worked on the hardware for a long time, The maintanace costs or the risk of failure is today unfortunately hardly to bear. The happier we were when we found the Relab 480 as software. From our point of view this is the perfect replica. As hardware, we have the last Lexicon gem, the PCM 96, an outstandingly good reverb that we also have in plug-in form. A special feature is the Bricasti M7. The two namesakes and development heads (Brian & Casey) are former Lexicon developers. The reverb of the M7 is breathtaking. You can literally feel the room and its vibes.



Despite initial skepticism, we now like to use software plugins. In addition to the advantages of the automation options and the multiple applicability, some representatives now sound very good. At this point we would like to highlight the plugins from the manufacturer Fabfilter. We recommend the videos from Dan Worrall.

As a DAW and Pluginhost we usually use Apple Logic Pro on an Apple Studio (M1 Ultra with 128 GB RAM, 20 Cores, 4 TB & Dual Gigabit Ethernet with 40 TB Backup and 43" monitor).

  • Acustica Coffepunn
  • Acustica Coralbaxter
  • Brainworx BX digital v3
  • Brainworx dynamic EQ v2
  • DDMF Grand
  • Fabfilter Pro Q3
  • Fabfilter Vulcano 2
  • Goodhertz Tiltshift 3
  • Goodhertz Tone Control
  • Logic Vintage EQs
  • Maag 4
  • Mllennia NS EQ2
  • Overloud Gem EQP
  • Pulsar Neumann W495 EQ
  • Soundtheory Gullfoss (Master)
  • SPL Passeq
  • SPL Ranger EQs
  • SPL Vitalizer MK 2
  • TDR Nova Gentlemen's Edition
  • TDR SlickEQ Mastering Gentlemen's Edition
  • TDR VOS SlickEQ Gentlemen's Edition
  • Universal Audio Pultec EQP-1A EQ
  • Universal Audio Pultec HLF-3C EQ
  • Universal Audio Pultec MEQ-5 EQ
  • Brainworx Dynamic EQ v2
  • Brainworx Opto
  • DDMF Magic Death Eye
  • DDMF Magic Death Eye Stereo Mastering Edition
  • DDMF NoLimits2
  • Fabfilter Pro C2
  • Fabfilter Pro DS
  • Fabfilter Pro G
  • Fabfilter Pro L2
  • Fabfilter Pro MB
  • Goodhertz Vulf Compressor 3
  • Logic Vintage Compressors
  • Millennia TCL2
  • Native Instruments VC 2A
  • Native Instruments VC 76
  • Native Instruments VC 160
  • Overloud Gem Comp LA
  • Overloud Gem Comp670
  • Sonible pureLimit
  • SPL Iron
  • SPL Transient Designer Plus
  • TDR Kotelnikov GE
  • TDR Limiter 6 GE
  • TDR Molotok GE
  • TDR Nova GE
  • Universal Audio LA-2 Compressor
  • Universal Audio LA-2 Gray Compressor
  • Universal Audio LA-2 SilverCompressor
  • Universal Audio LA-2 Tube Compressor
  • Universal Audio 1176 Classic Limiter Collection
  • Vertigo VSC-2
  • Weiss DS 1-MK 3
Reverb & Delay
  • Arturia Rev PLATE-140
  • Briscasti M7
  • Exponential Audio Excalibur
  • Exponential Audio Nimbus
  • Exponential Audio Phoenix Surround
  • Exponential Audio R4 Surround
  • Exponential Audio Stratus 3D
  • Exponential Audio Symphony 3D
  • Fabfilter Pro R
  • Fabfilter Pro R2
  • Lexicon PCM 96
  • Lexicon PCM Bundle
  • Liquidsonics Cinematic Rooms Pro
  • Liquidsonics Seventh Heaven Pro
  • Logic ChromaVerb
  • Logic Space Designer
  • Quantec Evolution 2772
  • Quantec Evolution 2772 v2
  • Quantec Room Simulator
  • Relab LX 480 complete & v4
  • Relab QuantX
  • Relab Sonsig Rev-A
  • Relab VSR S24 (TC electronics system 6000 VSS6.1)
  • Relab VSR REV 6000
  • SPL Deverb
  • Universal Audio Galaxy Tape Echo
  • Universal Audio Pure Plate Reverb
  • Valhalla Room
  • Valhalla Shimmer
  • ValhallaSpaceModulator
  • Valhalla Vintage Verb
  • Zynaptiq Wormhole
Ampsimulation & Distortion / Saturation
  • Arturia Pre 1973
  • Arturia TridA
  • Arturia V76
  • Brainworx bx_saturator V2
  • Eventide UltraChannel
  • Fabfilter Saturn 2
  • HoRNet Analog Stage
  • HoRNet ChannelStrip MK3
  • HoRNet Tape
  • u-he satin
  • Universal Audio Century Tube Channel Strip
  • Universal Audio Oxide Tape Recorder
  • Vertigo VSM-3
  • bx_stereomaker
  • Goodhertz CanOpener Studio
  • Goodhertz MidSide 3
  • Goodhertz panpot 3
  • Schoeps MonoUpmix
  • Schoeps Double MS
  • Schoeps Polarflex
  • SPL Vitalizer MK2T
Tools & Metering
  • ADPTR MetricAB
  • bx_meter
  • bx_subsynth
  • DDMF MetaPlugin
  • DDMF Plugin Doctor
  • DDMF SuperPlugin
  • HoRNetTheNormlizer
  • Ohlhorst DeEdger
  • RME Digicheck NG (metering)
  • Process.audio decibel (soft- & hardware metering solution)
  • Sound Radix Auto-Align 2
  • SPL DrumXchanger
  • SPL Hawkeye
  • TDR Simulathe (Vinylschnittmastering und -simulation)
  • Waves VocalRider
DAW & Audioeditors
  • Apple Logic Pro
  • Celemony Melodyne Studio 5
  • DSP Quattro 5
  • Hofa CD-Burn.DDP.Master Pro
  • iZotope RX 10 Advanced
  • Steinberg WaveLab 12 Pro
  • Zynaptiq Myriad

© 2024 | Qmc - the quiet music company | info@the-quiet-music.company | Impressum

© 2024 | Qmc - the quiet music company | info@the-quiet-music.company

© 2024 | Qmc | mail

DBX 160 SL

The luxury compressor from DBX

The dbx 160 SL combines the best qualities of the original DBX 160 VU and the DBX 165 with the highest audio quality. Used correctly, the 160 SL gives the signal more space and depth. If necessary, the DBX can really pop it without being unmusical. Both channels can be coupled with stereo signals. The coupling is realized by means of true RMS power summing. This guarantees musical processing of the stereo signal.

DBX has made a real statement in the use of materials with the 160 SL: More is not possible ...

DBX 1066

The workhorse among compressors

The dbx 1066 compressor is not only suitable for the stage. Due to its low distortion and noise values ​​- due to the newly developed V2 VCA - the dbx 1066 also feels at home in the studio and impresses with its high precision and its own sound, which is particularly suitable for punchy drum sounds. Both channels can be coupled with stereo signals. The coupling is realized by means of True-RMS-Power Summing, this guarantees a reliable and yet "musical" processing of the signal.

Ramsa WZ DE 45

The digitale EQ from Ramsa

Ramsa is best known as a manufacturer for its 12/2 speaker, which was mainly used by entertainment bands due to its compact size and performance. However, this narrow focus is doing this manufacturer an injustice. Ramsa developed a lot of audiophile treasures in the 80s and 90s and pioneered digital signal processors. The WZ DE 45 has some special features: On the one hand, the DE 45 sounds very inconspicuous. In addition, the WZ DE 45 has very good sounding notch filters for effective correction of room resonances or other spikes in the frequency response. The music signal always remains intact. Thanks to its digital connections, the WZ DE 45 becomes part of the “in the box” system and avoids unnecessary conversions.

Millennia NS EQ 2

Ultracleaner Shunt EQ with Character

The NS EQ2 equalizer is characterized by its incredible musicality. A transparent solid state path or a subtle, colorful tube path can be chosen for the perfect fit. With both paths, the Millennias always sound extremely clean, stable and magnificently detailed. Its bass response is pitch black, making the signal dark without smearing. The mids are processed without softening the attack, and the high frequency spectrum is the definition of silky smooth. Our devices have the best sounding original Telefunken tubes (NOS = New Old Stock). These give a beautiful subtle coloration especially in tracking and mixing. In masetering situations, we prefer the extremely transparent HV3 circuit, which sounds very musical and open despite all transparency.

Millennia STT 1

The high end Channel Strip

Our two Millennia STT1 are true quick-change artists. All inputs work either in ultra-clean, completely transparent HV3 transistor circuitry or with the very musical M2B tube circuitry, which passes on the signal somewhat more plastic and softer to the next stage. A transformer can be added to both circuit topologies to give the signal more substance in the low-mid range. The following equalizer is characterized by its outstanding musicality. Solid state paths or tube paths can be selected here as well. In doing so, the Millennias always sound extremely clean, stable and magnificently detailed. Its basses are pitch black, making the signal dark without smearing. The mids are very detailed without softening the attack and the highs are actually silky smooth. The compressor in optoelectronic technology can be switched in either before or after the EQ section. In addition to the broadband compression, this stage also offers a very musical de-esser, which can also very transparently free the music signal from a "harshness". Our devices have the best sounding original Telefunken tubes (NOS = New Old Stock).

Ramsa WZ DM 30

The early digital EQ

The Ramsa WZ DM 30 was one of the first good sounding equalizers. Today EQ plugins are so good that the DM 30 has now moved to the side rack.

Still a nice and good device.

SPL Vitalizer MK 2 Tube

The magic box

The original vitalizer was the magic box that was indispensable in any studio in the 90s. In the meantime, there are the successors MK2 and MK2T as well as the Tube Vitalizer and it has become somewhat quieter around this small but incredibly effective device. The main reason for this is incorrect use. With the Vitalizer, the general rule is: less is more. Since our hearing gets used to changes in the sound very quickly and can be tricked especially by perceived increases in volume, the use of the Vitalizer was often exaggerated.

However, careful use of the Vitalizer can miraculously reveal hidden subtleties in the mix. Its predefined filter curves in the bass are reminiscent of the typical bass sound created by the Pultec trick. However, it is much easier to dose due to the fast soft-knee bass compressor.

Another special feature of the Vitalizer MK2T is the stereo expander. We have not yet come across a plug-in that works so well. Maybe it's because of the tube used in the expander stage, which adds some color to the inverted side signal. Although the mix becomes wider and fuller, the mix remains mono-compatible in large parts.

Millennia TCL2

The musical compressor

The Millennia is probably one of the cleanest, most musical compressors around. The TCL2 is an optoelectronic compressor with selectable tube or transistor circuitry. The TCL2 sounds incredibly transparent and musical. Like all optical compressors, its control response is slightly slower than that of VCA compressors. This makes brute pumping effects less possible, but also unintentional. On the other hand, the TCL2 adds warmth, more weight, more consistency and more depth to the music. The TCL2 probably does this better than any other compressor.

Bricasti M7

The room simulator

The Bricast M7 is certainly one of the best reverberators available. Its strength lies in the realistic, vivid simulation of real rooms, chambers and halls. The first version of the Bricasti came on the market with ultra clean non-modulated reverb rooms. These rooms were received with enthusiasm. We too fell in love with the Chambers especially the Sunset Chamber. But at the same time, there was a desire for modulated reverb tails like those brought by the big Lexicon. These sound less realistic, but are very lively and bring a certain vibe. 2 years later Bricasti then brought a firmware update with the additional v2 halls. Again, the response was great. Presets like Icebeads are already legendary today. Nevertheless, we see the Bricasti with its realistic rooms rather complementary to the classic Lexicon sound. From our point of view, the Bricasti manages better than all other reverbs to create a common real, lively sounding room.

Lexicon PCM 96

The Dream Machine

This is the last Lexicon from the pen of the great Lexicon Halls. David Griesinger, the father of the legendary Lexicon 200 and 480 gathered a group of talented engineers around him. After the acquisition of Harman, the three development minds left the company. Two of them founded Bricasti (Brian and Casey) and the third Michael Carnes founded Exponential Audio, which focused on outstanding software reverb. Michael Carnes is the one who wrote the algorithms for the PCM 96. They are identical to the great Lexicon 960 except for a few corrections, but also to Lexicon's PCM Bundle software plug-in. The halls are fantastically vibrant, warm, mellow, shiny and always a bit larger than live. It is to this day one of the best hardware reverbs still available.

It's amazing that our favorite reverbs (Bricasti, Exponential Audio and Lexicon) all come from the same pedigree. Kudos.

Lexicon MX 400 XL

The Multichannel Verb

The Lexicon MX 400 XL is something like the small brother of the PCM 96. It has a plugin interface, which unfortunately is no longer actively developed. The MX 400 XL is somewhat less dense than the larger PCM Reverbs. Nevertheless, it combines all the characteristics of a Lexicon reverb. It is warm, lively and shiny. Through its two Lexichips it can calculate four channels or 2 completely different reverbs at once. We also like to use the MX 400 live or for a monitor mix.