Actually, they are very different devices. MDT is a multi-band processor with fixed crossover points and without phase compensation. There is one attack and release for all bands in MDT. The Waves C1 Compressor/Gate is a frequency selective dynamic processor with continuously moveable crossover point and slope and is phase compensated to minimize tonal coloration. Any range of frequency can be selected and processed dynamically (compress, limit, gate, expand).

Yes, and in several different ways. For example, one method is traditional wideband compression with sidechain EQ. Another method is compression of only the 'ess' band, leaving other frequencies unprocessed. This can be accomplished even in a full mix. C1 has a full paragraphic EQ for sidechain and bandsplit processing that 'tunes in' to the exact problem area of 'ess.'

Yes, and more. For example, if a song mix has weak bass, the bass can be compressed so it is nice and tight. This compressed bass can then be mixed back into the song exactly to the desired level. Alternately, it is possible to gate the hiss or expand only the presence, all while performing wideband compression at the same time with completely independent controls.

The C1 has two processors: a compressor and a gate. Each can alternately be an expander, so it is possible to compress wideband and gate the selected noise band, or compress only the bass and have a wideband downward expander to remove the noise. Each processor is completely separate with independent attack, release, threshold, etc.

Yes. Select the desired frequency range to be enhanced, then set the C1 so these frequencies are raised in level at a specific threshold instead of being reduced. The C1 makes it possible to choose the frequency and threshold point where enhancement begins.

Waves makes it possible to gain complete control over the processors. The C1 is an expert tool for those times when exacting control is required. The setup library is more than groups of excellent processors; it also serves as a complete tutorial. The documentation is clear and concise, and is surely one of the best ways to learn how to use the C1. The C1 setup library user's guide can make almost anyone a true dynamic processing expert. The setups and text, created by Michael Gerzon, describe what controls to use in the setup and why they work. Investing a little time in the setup library will bring satisfying results with one of the most powerful dynamic processors in the history of audio.

The L1 Ultramaximizer provides precision peak control beyond what the C1 will deliver. The L1 also has special release smoothing which allows very fast release times. The lookahead in the L1 is shorter and more specific for precision peak control. The C1 lookahead is longer (8ms) and allows more general use within typical compressor/gate applications. In addition, the L1 offers extensive control of dither type, noise-shaping, and bitdepth output. The C1 output can be 24, 20, or 16 bit. The L1 can output 24, 20, 16, 12, and 8 bit.

Absolutely! That is basically the setup in default mode. Recommended settings for this task are: ratio 2:1 and the compressor threshold low enough to see 4 to 6dB gain reduction. Set the gate threshold to reduce noise between sentences. For some voices, try the expander mode of the gate for more gentle action.

A. Venture into the setup library and you will gain much valuable information on utilizing this powerful tool to it's full potential. Pay particular attention to how the sidechain element is used to create some of its effect. If you see a setup that is suited to your specific need, start with it and tweak the controls as you need.Let the setups do much of the work for you!

A. The sidechain and the three modes offer the real power that the C1 has to offer. Wideband mode simply processes the entire frequency range the same. The side chain mode uses the active band in the eq section (the red line) to control the wideband compressor. Therefore when it sees that particular range go over the threshold, it starts to process. The effect is still applied to all the frequencies the same, it is just controlled by particular ones. This is the type of sidechain found in most deessing setups. The split band mode is what gives the C1 its real power. In this mode the processor only processes the active band, passing all others. This allows you to do very frequency specific compression without fear of squashing something you don't want to.

A. This is a unique feature of the C1 that can be very helpful, especially when used with the sidechain. At settings around -30, the C1 will give you a sort of reverse compression. That is the signals nearing 0db would be brought down further than signals around -20dB.As you increase the ratio to around -20 the C1 will actually cancel out a particular level of the material. If you try this you will see a drop in the curve at a particular range. Combined with the sidechain this can things from noise reduction to de-reverberation.

A. The monitor is a great tool when you are trying to determine if you are targeting the right frequencies for processing. When the switch is on audio, you are listening to the final output of the C1. When it is on sidechain, you are listening to the active band. This allows you to pinpoint the exact frequency range you want. The passive mode allows you to listen to the passive (blue) band.

A. The lookahead feature of the C1 helps to minimize the transient distortion that can be caused by dynamic processing. This allows the user to use longer attack times without transient shape distortion becoming too serious. The one drawback is that it causes a 340 sample delay but this can be rectified by using the C1 DLA on the tracks that do not contain a C1 with the lookahead module on them.

A. Unfortunately, the limited flexibility of the systems that are available prohibits doing this with any ease. It is possible to do, but it requires multiple instances of the C1 to accomplish. This option is only available to TDM users. First setup 2 stereo auxiliary inputs with C1s on each. Set the key mode to L->R (left controls right)on each C1. Send the control signal to the left side of each C1. Bus the left side of the stereo track that is to be keyed to the right input of the first C1 and the left side of the track to be key to the right side of the second C1. Pan the Aux. input of the first C1 all the way to the right. In this way you can duck a stereo track of audio.