Midas hand is an end of chain tool that automatically gradually adjusts the loudness of the incoming audio signal throughout your whole set, so no matter if your next track of the set is too loud or too soft, it will sound exactly up to target. If there are less elements present in the softer part of the playing song, they will automatically be brought to focus.
The result is ran through a high ceiling limiter so there still is a tasteful touch of compression of the peaks but no overcompression. There’s also an option to let transients through, to add some punch.
Additional features include a mid/side stereo width adjuster, that allows you to either instantly bounce your mix to mono for a PA club system or artificially expand the panorama bringing out additional atmosphere.
There’s also a 3-band EQ that is applied to gain-adjusted signal right before the Limiter. This allows to push some of the frequencies harder into the limiter creating an effect similar to multiband compression.
The bonus part is the arrangement-level dynamics tool — white noise generator, with ability to create custom noise filter sweeps between preset points on the frequency range. The noise level is also adjusted to the volume of the song so it doesn’t overpower or lack visibility.
Features:
– Input and output stereo signal monitors (bars shows the sum of left and right channels)
– White noise generator with 3 preset points and ability to sweep resonant filter between them
– Instant and latching white noise activation modes
– Filter sweep range control (adjusts top and mid points of sweep)
– Stereo width adjuster
– Automatic Gain Control (AGC) algorithm with smooth adjustment of loudness in 30db range
– Auto signal detection. As soon as the incoming signal is over threshold (at least 1 bar on the meter) it will start adjusting to target loudness. But if there is a pause in the song, AGC will automatically temporary turn off without trying to push silence into audible range.
– Ability to temporary pause (freeze) AGC, if you’re switching to a softer part of the song and don’t want its volume to be brought up.
– 3-band EQ of gain-adjusted signal
– High-ceiling limiter with an option to pass transients
– Output Gain control allows to set any target volume
Usage tips:
Input and output monitoring
– Monitor volumes of input and output signal using 8-section indicators
Noise Generator
– Toggle noise generator using a UI button or left stompwitch
– Slide noise between three values (low/mid/high)
– Temporary toggle noise by pressing and holding one of three values
– Select range of noise variation (moves mid and high points)
EQ and Widener
– Make mix wider or narrower using Stereo Width control
– Add or remove high, mid or low frequencies
AGC and Limiter
– Send stereo signal above minimum volume threshold and it will automatically be adjusted to preset target gain, red led will light up when AGC is on
– Temporary freeze current AGC level by pressing the red AGC light (will turn light blue) or right stompswtitch
– Limiter gently compresses the peaks of audio, toggle pass-through of transients for punchier sound
– Add or remove post-limiter output gain
– Monitor pre-AGC and master out waveforms
Sound demo recorded from mixer (1.0):
Usage Instructions (1.0):
Current version 1.1 does not have a video yet, see list of changes in the comment section below.
UPDATE 1.1
– AGC analysis circuit is now true stereo. It listens to both channels and adjusts to the loudest one. This means you can now run mono sources to any input or stereo sources with audible imbalances without risk of peaking. Previously AGC used left channel as input for adjustment logic.
– 3-section “Correction Required” indicator allows you to see how much correction is due to be applied. As soon as it shows 1 block, the sound level is stable.
– AGC application curve is now logarithmic. The greater the difference between input and target volume, the faster it will begin adjusting. This also fixes any volume jitter at the optimal volume.
– Noise Gain control allows adjusting the peak noise volume if you find it too loud or soft
– Slight adjustments to noise character
– Changes to EQ range make adjustments more precise
– CPU optimizations