mastering compressor/ limiter/ de-esser - 96 kHz
version of the DS1 - a software upgrade for the DS1-MK2:
parameter control in the two channels
- M/S mode
link on / off switchable
- Peak / RMS sidechain
Presets programmed by Mr. Bob Katz
- 24 Bit
snapshots can be loaded in
the standard DS1 model (i.e. not the MK2) can upgrade by swapping the DSP board
of their DS1 for a new one. This can easily be done by the customer.
102 Series split band De-Esser is one of the mastering industry's most highly
praised digital products. Now Weiss engineers have taken their De-Esser design
and combined it with the best features of the time proven 102 Series Dynamics
Processors. The result is the Weiss Gambit DS1, a stand alone digital Dynamics
Processor with unparalleled performance and sonic integrity.
mode the compression band is selectable as a lowpass, bandpass or highpass and
extends the functionality beyond de-essing. The crossover filters are linear
phase for the highest sonic quality. The full band dynamics processor with soft
knee compressor and hard limiter is ideal for program loudness control.
keys: let you select a bank of factory presets which can't be changed by the
user, but which can be copied into normal snapshots and edited from there. Two
banks of factory presets are given, de-esser type and compressor/limiter type.
key: Allows to listen to the filtered signal only, i.e. the one being processed
by the dynamics section, facilitates the search for offending signals.
When touching "bandwidth" or "frequency", the soft keys
will select which type of band (low, mid, high). The LEDs above the frequency
knob show the current status. Frequency knob selects the corner / center
Release etc.: Attack, release delay and release fast/slow with averaging knobs
make up a powerful yet easy to operate timing section for optimum sound treatment.
The LEDs between the knobs light depending on the automatically selected
- Soft knee
knob gives a variable soft knee characteristic (from no soft knee to very
gentle). The LED above the knob lights if the input level is in the soft knee
region. The LED above the threshold knob lights of the input level is above the
- Gain makeup
allows for zero gain makeup in DeEsser mode and for as much gain makeup as
possible in the compressor/limiter mode. Touching the gain makeup knob assigns
the softkeys to select the various modes.
- Soft knee
- Dual mode
unit (DeEsser or Compressor/Limiter)
audio path in Compressor / Limiter mode
- Overall delay
controllable in multiples of video frames
delay for early anticipation of level peaks
LCD with comprehensive metering and settings information
- Metering of
input level, output level, gain reduction
snapshots with 2 times 128 snapshots backup
parameter MIDI controllable, MIDI dump of
input / output
- The DS1 is
absolutely bit-transparent as long as no gain reduction occurs - even in
sound of the DS1-MK2 is impeccable. It is the most transparent, refined,
flexible and least ”digital-sounding” dynamics processor I have ever used. It
is indispensable; I use it on over 90 percent of my mastering projects."
Digital Domain, USA (Read the whole review as pdf
world's best De-Esser, made by Daniel Weiss in Switzerland, is digital, for
Gateway Mastering, USA
"Neutral Digital", the only word in my opinion is Weiss. A VERY
box. I use 2 of them together. One for low compression ratios, and the second
as a peak limiter. Very musical and powerful."
Meadows, Masterfonics, USA
DS 1 is very smooth and transparent. It has none of the "edge" that
seems to plague all other dynamics processors."
is the best of all the digital compressors I've heard, nothing else comes close
Seibel, SAE Mastering, USA
happy to say that my facility Glenn Schick Mastering has released hundreds of
CD's mastered with the DS-1. I LOVE this unit ".
Schick, Glenn Schick Mastering, USA
DS1 is already installed and already used for a week now and all I can say is
that it is truly a piece of fine art and technology. Simply put: my customers
love it and I enjoy the improvement in sound and flexibility I already have. I
can't wait to get the ADC1".
deAndrade, Visom Digital, Brasilia
own 21 different high end analog and digital compressors. They all work very
differently. It seems like after spending some time with each you can
eventually find what you are looking for. For ease of operation and getting
something cool quickly its hard to beat the Weiss for digital or the Vari-Mu
Becker, Bernie Becker Recording, USA
Weiss DS-1 is the best de-esser I've ever heard. It's digital, of course, but
at 24/96, the output is pretty close to the input."
Blackwood, Ardent Mastering, USA
soft limiter setting of the Weiss DS-1 is just exceptionally good indeed. I use
a much shorter release than the preset though. Really outstandingly good."
Finnberg, The Mastering Room
completely delighted by this machine [The DS1] and do intend to buy other
products from Weiss in the future."
DS1-MK2 is extraordinary. The sound has a richness and ease of listening that
is not approached by any other device in my experience."
Silverman, Arf! Digital, USA
I've had the DS 1 for just over a week and am totally amazed !!! I read the
manual (even though engineers aren't supposed to read manuals) and found the
information there very helpful. Manual aside, the DS 1 is very intuitive and
within minutes of instillation I was able to navigate easily and get great
results. I'm not sure how I ever worked without it."
Milton, Cyberella Studios, USA
you're looking for "invisible", this mode of the Weiss is the place.
As a parallel compressor (underline "in parallel compressor" mode)
the Weiss is virtually colorless. It is the MOST transparent compressor I've
ever heard. I guess you could say that it has "no color", so don't
come here if you looking for color. It is designed to subtly and transparently
boost low level signals.
cases it does this better, easier, and more efficiently than any human being
with a fader can do. An amazing box. I've devoted about 3 pages of my book to
how to do parallel compression as invisibly as possible and the Weiss has the
most flexibility to do this well, plus with its 40 bit-float Sharc chip, it
does it with incredible precision and purity of tone."
Digital Domain, USA
box is the best upward expander, the best de-esser, and the best parallel
compressor. Anything else I have in its place is audibly inferior for one
reason or another."
Digital Domain, USA
now i use the weiss DS1 mkII compressor. Once you go Weiss, you never
Fossenkemper, TurtleTone Studio,
recently bought a used DS1 and have upgraded it to MKII, and as with all of
your designs, it's a stellar piece of gear. Not only does it sound amazing and
do amazing things, but the consideration for the user interface is equally
amazing. Doug was showing me the automatic ranging of the display so that the
full range of action of the piece is always visible in just the right amount of
detail. It's that kind of thought that makes the difference between greatness
and "just another box". Thanks for upholding that level of quality.
Baker, Studio B, USA
way I handled the track that needed high end but also contained a harsh,
slightly distorted vocal was to find a "sweet spot" in the Weiss
DS1-Mk2 that miraculously (literally) picked on the vocal without much touching
the track. It was a very powerful solution, you could listen to and watch the
Weiss picking on those harsh vocal peaks while the brass, percussion and keys
were clear and open. Attack and release on the Weiss were critical."
Digital Domain, USA
betting that anyone doing a shootout blind or not will agree with me that nothing
comes close to the Weiss [DS1-MK2]. I do not get any endorsements from Weiss
for this statement and these are my own personal opinions. It hurts me to say
that I think that something is the "best' and that another brand is not as
good if I generally like the products from the other brand. But in this case, I
believe the Weiss is such a clear winner as to be worth the praise."
Digital Domain, USA