Tag: mixing

Softube Empirical Labs Prof Punch-Knuckles Introduction

Hello! This is Jooyoung Kim a mixing engineer and music producer.

Today, Softube’s new plugin, Empirical Labs Prof Punch-Knuckles, is released.

I received the NFR code for this product from Plugin Boutique for this review, and if you purchase the plugin using the links included in this article, I’ll earn a small commission that helps me keep going… 🙂

Let’s start!

Distressor and Mike-E

If you really interested in mixing hardware, you may know the Empirical Labs’ Distressor (EL-8) and Mike-E (EL-9).

The goal of the Distressor’s development was to create a versatile unit that could emulate the sonic signatures of many vintage compressor types, such as opto, FET, and tube designs. However, it wasn’t sound like those, but the saturation character was really great! Now, it is a compressor that has become a modern ‘classic’.

Mike-E is a channel strip whose compressor section is based on the Distressor.

And Prof Punch-Knuckles is a saturator based on those two pieces of modern classic hardware.

Empirical Labs Prof Punch-Knuckles

Click the image to purchase the Empirical Labs Prof Punch-Knuckles at Plugin Boutique

There three types in this plugin.

In the manual, those types are explained like this.

  1. Toasty: Based on the saturation in the compressor of Mike-E
  2. Crunchy: Based on the preamp distortion of the Mike-E
  3. Distress: The compressor circuit of Distressor and Mike-E

(The frequency response and the compression curve corresponds to each type’s designated sequence)

The ‘Toasty’ and ‘Crunch’ types look like soft-knee limiters, but the ‘Distress’ type clearly behaves like a hard-knee limiter.

Furthermore, the low-cut and high-cut filters aren’t merely simple attenuators. They instead emphasize the frequencies around the cutoff, creating a resonant effect.

There are 3 modes too,

  1. XFRM: Transformer distortion tone, emphasizing low frequencies
  2. Wide: A wide-range distortion
  3. Tape: Emphasizes the distortion in the top end

Harmonic distortions are quite different depending on the types and modes. I didn’t include the graph, however, because it wouldn’t be helpful for clarity.

Over All

Having used this plugin a few times, I now understand why the Distressor has been a long-time favorite. The sound of the Distortion mode is superb, and I anticipate utilizing it in several upcoming mixing projects.

Purchase Softube Empirical Labs Prof Punch-Knuckles at Plugin Boutique

I strongly recommend it specifically for the quality of its saturation.

iZotope Ozone 12 Release and Upgrade Sale (Until October 6)

Below is a natural, precise, and professional English translation of your blog post, tailored for an English-speaking audience. It maintains the conversational yet technically accurate tone of the original, avoiding any awkward phrasing or overly casual language that could undermine its credibility. The [Link] placeholders are included as requested, and the table is preserved in a clear, readable format. The translation is crafted to feel engaging and authentic for an international audio engineering audience.

iZotope Ozone 12 Release and Upgrade Sale (Until October 6)

Hello! I’m Jooyoung Kim, an engineer and music producer.

I’ve been meaning to continue my synthesizer explanation series, but I’ve been swamped with studying English lately… time is slipping away! ^^;;

Purchase Ozone 12 at Plugin Boutique

Instead… well, not quite “instead,” but iZotope recently released Ozone 12, and to celebrate, Plugin Boutique is holding a sale. So, I thought I’d dive in and review it.

I received Ozone 12 as an NFR (Not for Resale) copy for this review. If you purchase through the links in this post, I’ll earn a small commission, which helps keep the lights on!

Let’s take a closer look, shall we?

Plugin/Module Overview

Plugin/Module NameDescriptionElementsStandardAdvanced
Stem EQIndependently EQ vocals, bass, drums, or instruments in a stereo file✓
Bass ControlAdjusts low frequencies✓✓
UnlimiterRestores overly compressed transients (powered by machine learning)✓
ClarityCreates smooth masters (seems like high-frequency enhancement)✓
MaximizerLimiter✓✓
EqualizerTraditional EQ✓✓
ImpactFine-tunes dynamics✓
StabilizerAdaptive mastering EQ✓✓
ImagerStereo imager (free to use!)✓✓
Match EQMatches frequency characteristics to a reference track✓✓
Master RebalanceAdjusts stem volumes at the mastering stage✓✓
Low End FocusLow-frequency specialized processor✓
Spectral ShaperFrequency-specific shaper✓
Dynamic EQDynamic EQ✓✓
ExciterExciter (think saturator, with 7 types)✓✓
DynamicsCompressor/limiter✓✓
Vintage TapeTape emulation✓✓
Vintage CompressorVintage-inspired compressor✓✓
Vintage LimiterVintage-inspired limiter✓✓
Vintage EQVintage-inspired EQ✓✓
Other Features
Master Assistant: Custom FlowCreates a customized mastering chain✓✓✓
Master Assistant ViewVisualizes the mastering process in Ozone 12✓✓✓
Stem FocusPrecise stem separation✓
Track ReferencingManages reference tracks✓✓
Transient/Sustain ModesEmphasizes transients or sustain✓✓
Assistive Vocal BalanceAdjusts vocal clarity and balance✓✓✓
DitherDithering✓✓
Codec PreviewTests compressed formats like MP3/AAC✓
Additional Plugins
AudiolensAudio analysis and reference tool✓
iZotope RelayLightweight channel strip for communication between iZotope plugins✓
Tonal Balance Control 2Frequency balance analyzer✓

Wow, that’s a lot, isn’t it? 🙂

The Elements version doesn’t include individual plugins and is limited to a streamlined version of the integrated plugin (number 5 in the list). Since there’s so much to cover, I’ll focus on the key plugins and the new additions in Ozone 12.

1) Stem EQ

I’ve never been a huge fan of stem separation tools in the past, but the technology has come a long way.

It’s not perfect, but it doesn’t sound unnaturally detached either. The way EQ is applied to stems feels impressively natural.

Compared to the older Master Rebalance, Stem EQ is much more precise. The sound is noticeably different, suggesting they’ve updated the algorithm.

This isn’t just for mastering engineers—it’s versatile enough to significantly alter the feel of the source material, making it a useful tool for many users.

2) Bass Control

This one’s a winner! iZotope plugins are known for their intuitive interfaces, clearly showing what you’re adjusting. Bass Control is no exception, displaying only the low-frequency waveform to give you a clear sense of whether the sound feels light, heavy, or punchy.

3) Unlimiter

Think of Unlimiter as an attack shaper. It doesn’t fully restore the original transients, but it does a great job of naturally enhancing them.

4) Impact

This is a fun one. Impact lets you emphasize or reduce transients on a per-frequency basis. It’s another reminder of how critical transients are in both mixing and mastering!

Applying it lightly to the low end can group the kick and bass together, creating a cohesive, groovy feel. Pretty cool!

5) Ozone

This is the core of it all, right? One-click mastering!

Personally, I’m not a huge fan of one-click solutions, and after testing it on a few projects, it feels like there’s still room for improvement.

That said, unlike older versions that relied solely on one-click mastering, you can now pick and choose effects to create a custom chain. Starting with suggestions for EQ, limiter, and imager can be a great jumping-off point! 😊

The other plugins are fairly well-known, so I’ll skip the deep dive there.

Both iZotope and Acon Digital have made it possible to perform stem mixing at the mastering stage using just a stereo track. It’s wild how far we’ve come!

Oh, and among the Advanced version’s additional plugins, I highly recommend Tonal Balance Control 2. When my ears feel off (like when I’m under the weather), this plugin always reveals something’s slightly amiss.

It’s also fantastic for studying other tracks and establishing your own reference point. Definitely give it a try!

Ozone comes in three versions: Elements, Standard, and Advanced. The table above details which plugins are included in each, so check it out to find the one that suits your needs.

Purchase Ozone 12 at Plugin Boutique

Personally, I love Low End Focus, Stem EQ, Bass Control, and Impact, so I’d recommend Advanced. Standard is a solid choice too, but Elements might feel a bit limiting.

You can try the demo to see for yourself. I hope you find it useful!

Until next time! 😊

I Earned the Stage Sound Engineer Level 3 Certification

Hello, this is Jooyoung Kim—sound engineer and music producer.

In Korea, there is a government-issued certification called Stage Sound Engineer (Level 3, 3 is the first (or beginner) level, followed by 2 and 1.).
It doesn’t have a direct equivalent in the US, UK, or Canada, but you can think of it as something like a formal audio engineering license, proving both practical and theoretical knowledge in live sound.

As I’ve been working in the audio field, I realized that while practical skills are essential, having an official certification also helps when listing credentials on a résumé. For a long time, I wasn’t sure if it was worth pursuing—but I figured if I didn’t get it this year, it would only become harder later. So, I decided to take the exam.

Studying for the Written Exam

I had already bought some textbooks back when I ambitiously wanted to “master all of audio engineering.”
Unfortunately, the exam content had been updated recently, which meant my older materials were out of date.

At first, I tried to get by without buying the new edition, but after checking last year’s exam questions, I realized too many things had changed. So, I finally bought the updated books just two days before the exam and studied them intensely.

In total, I prepared for about ten days—definitely a crash course. The audio-related parts were manageable thanks to my background, but the legal regulations and stage-specific terminology were quite difficult. Memorization has never been my strong suit (even in English vocabulary study these days, I struggle a lot!).

I didn’t go through the entire book cover to cover, but I solved past exams one set per day and focused on reviewing the parts I got wrong. It was a very “efficient cramming” strategy.

The Practical Exam

Since much of the practical portion overlapped with my usual work, I didn’t need to prepare too heavily.

The main part was a listening test: adjusting pink noise with a 15-band graphic EQ to balance different frequency ranges, and identifying test tones across the EQ bands.

Because I couldn’t find a simple 15-band graphic EQ plugin anywhere, I actually built one myself as a VST3 and AU plugin. If anyone needs it, I uploaded it here:

🔗 GitHub – JYKlabs/15-Band-Graphic-EQ

Mac users can simply extract the files and place them in /Library/Audio/Plug-Ins/VST3 and /Library/Audio/Plug-Ins/Components.

Windows users can place the VST3 file in their VST3 plugin directory. (Since I only built it on Mac, I haven’t tested it on Windows yet.)

The plugin is extremely minimal—no extra features, just a straightforward EQ.

During the actual exam, there were 10 listening questions in total. The first five (identifying effects) were fairly easy, but the last five (detecting EQ adjustments applied to music or noise) were much harder. Since the exam environment was different from my usual studio setup, I struggled a bit.

Also, I tend to think of EQ in terms of musical intervals, but the test was structured entirely in octave relationships, which threw me off at first.

Still, since passing only required 6 correct answers out of 10, I managed to make it through. Thankfully, my hearing was in decent condition that day (sometimes ear fatigue can really mess me up).

Final Thoughts

Unlike in South Korea, many Western countries don’t offer official government-issued certifications specifically for live or stage sound engineering. Instead, recognition and credibility often come from trusted industry certifications, educational credentials, or portfolio evidence.

For example, the Certified Audio Engineer (CEA) credential from the Society of Broadcast Engineers (SBE) is well-regarded and requires both experience and passing a technical exam. For those focused on live sound, programs like Berklee’s Live Events Sound Engineering Professional Certificate offer structured, practical training.

Even if you already have solid skills, it can sometimes be difficult to secure projects or convince clients without something official to show. That’s where certifications and structured programs help: they provide a clear, external validation of your abilities and open doors that pure experience alone may not.

At the end of the day, audio work is unpredictable: sometimes you’re mixing in a studio, other times you’re troubleshooting live sound under pressure. The more prepared you are, the easier it is to adapt.

Thanks for reading, and I’ll see you in the next post!

Heritage Audio Successor Hardware & Plugin Review

Hello, there! I’m Jooyoung Kim, a mixing engineer and music producer.

About half a year ago, I bought a Heritage Audio Successor that had some intermittent noise issues. I kept telling myself I’d write a review after getting it fixed… and, well, here I am finally getting around to it now, haha.

I didn’t originally have any burning desire to get this unit, like, “I have to own this thing!” It was just a good deal, even factoring in the repair costs, so my hand moved faster than my brain, lol.

I was initially eyeing the Behringer 369, but since this is also a diode bridge compressor, I figured why not. Plus, it’s a mastering compressor pushed by Heritage Audio, so I thought the channel balance would be decent enough, and it wouldn’t be a total gamble. So, I went for it.

As expected, there was noise coming from the left channel, so I just dove in and opened it up without much thought. Usually, noise or low output points to a capacitor issue—something simple, right? Or so I thought…!

No matter how much I looked, it didn’t seem like a soldering issue or a blown capacitor. So, I detached the circuit board and swapped the left and right transformers, but the left channel was still the problem.

Testing every tiny component by buying replacements was, frankly, not humanly reasonable. So, I handed it over to the folks at MS Tech for repairs, explaining the tests I’d done and admitting I couldn’t pinpoint the issue.

A few months later, I went to pick it up. When I asked the technician, he said he wasn’t entirely sure, but it seemed like the variable resistor in the left channel was the culprit. On the outside, the components looked fine, but something inside was faulty, haha.

Yeah, I probably underestimated the repair when I bought it. But, thankfully, it’s all fixed now, so no harm done.

And here’s something cool:

Even though I bought it secondhand, I reached out to Heritage Audio’s Support Center to ask if they could provide the plugin, and they happily gave it to me! The plugin is actually pretty solid, and I find myself using it quite a bit.

Hardware Measurements

The channel balance is pretty tight, though, being analog, it’s not completely perfect. You might wonder if the repair changed anything, but even before the noise issue, the balance was about the same.

The extreme high frequencies are slightly boosted, and, like many hardware units, it looks like there’s a high cut around 20kHz. The low frequencies are boosted as well.

The THD looks clean, but it definitely has some character.

The compression curve shows a gentle knee.

Even when limiting, it’s not a completely hard knee.

This unit has a max input of +22 dBu. Since pro audio typically works at +24 dBu, it’s a bit shy of that, but my interface operates at +20 dBu, so it’s plenty for my mixes or mix bus.

The max output is +26 dBu at 600 ohms, so as long as you manage the input carefully, it should work well for mastering too.

Plugin Measurements

The plugin has a unique feature called “Nuke.” It pushes the input by 20 dB for some intense saturation.

The top figure shows the default Frequency Response, and the bottom figure shows it with the Nuke function enabled.

Similarly, the top figure is the default Harmonic Distortion, and the bottom figure is with Nuke activated.

The compression curve feels less like a natural, smooth knee and more like it has a slight two-step bend somewhere.

Personal Impressions

Describing sound in words is probably the hardest thing. Everyone hears and expresses things differently, so… ugh, it’s tough.

Still, here’s what I think:

Hardware
  1. Compared to the Stam 4000 mk2, the high frequencies feel more alive, which gives it a certain quality that feels worth its price.
  2. The center feels a bit prominent (maybe because of the transformers?).
  3. The knobs feel great to turn—probably because they used high-quality variable resistors—and the Threshold and Gain have a subtle stepped feel.
  4. For its full price, it feels just about right.
Plugin
  1. The Frequency Response shows better high-end response than the hardware, but that sparkly, satisfying vibe just isn’t there in the plugin.
  2. The center feels quite prominent. In other words, you might need to tweak it with a stereo imager or something.
  3. It’s got a lot of character. So, when using it on a bus, you really need to pay attention to how it affects the balance.

Looking back, it sounds like I was pretty harsh on the plugin, but it’s actually good! Diode bridge compressor plugins aren’t exactly common (think UAD Neve 33609C or Arturia Diode 609), so it’s a solid new option to consider.

The hardware? Yeah, it’s great! I wish the highs sparkled just a bit more, but it’s plenty good as is.

Next up, I’m eyeing the Warm Audio WA76-D2 for a FET compressor. The audio samples sound amazing, but, as always, the biggest hurdle is money… sigh. If a broken one pops up on the secondhand market, I’m jumping on it.

I sometimes wonder if my reviews lean too technical or analytical, but hey, there’s gotta be at least one person out there reviewing stuff like this, right? Haha.

That’s it for today! See you in next post 🙂