From analog legend to digital powerhouse: The Relab Maselec MLA-4 Plug-In
by Diogo C
1 week ago
Sponsored by Relab Development
Maselec’s story is an interesting case of musical experience and technical excellence coming together to create gear that elevates our craft like few others. Envisioned by the legendary Leif Mases in the late 1980s, the company was born out of his relentless pursuit for improving sonic quality to a level where it would meet his measure. Having worked with the likes of Led Zeppelin, Jeff Beck, Ian Gillan, Europe, Black Sabbath and numerous artists from his home country, Leif’s resume as a music producer and recording/mixing engineer speaks for itself, but it’s his accomplishments as an inventor and innovator that most interests us here - we’re on Gearspace after all!
Leif Mases - Producer and Maselec founder
Leif has consistently pushed the boundaries of audio technology, and rightfully deserves to be put in the same category as Bill Putnam, Rupert Neve and George Massenburg. Besides his rich CV as a music producer, he also acquired extensive technical knowledge by studying physics and engineering at one of Sweden’s most prized institutions, putting him in an advantageous position to design top-quality gear to serve artistic purposes instead of being simply built to be in compliance with scientific measurements.
Leif’s foray into electrical engineering came through a request from the Swedish producer Marcus Osterdahl: he wanted a custom console filled with EQs and compressors in a “no-compromises” approach that perfectly matched Leif's philosophy and approach to sound. Shortly after, Leif received a request to modify a console for the famed Polar Studios in Stockholm, where he improved their large-format Harrison desk in order to enhance its sound and stability. These works ignited the spark for Leif to launch his own product line, which would become known as Maselec.
The company’s first product was a retrofit for the SSL 4000 console’s equalizer called Maselec 9001, which came out in the late 1980s and turned out to be quite a hit among big studios. Its goal was to make the SSL channel EQ sound more musical, more Neve-esque if you will, and it was a glimpse of what was about to come. It was followed by the now legendary MEA-2 Stereo Equalizer, a staple on mastering circles and still one of the most coveted analog EQs out there. It was only natural to follow with a dynamics processor, and that’s exactly what we are going to talk about.
More than meets the eye
The MLA-4 is a three-band dynamics processor, which may sound confusing at first given that number four on its name, but there’s a reason for that as it follows Maselec’s history and naming convention: the MLA-4 quite literally expanded upon its predecessor the MLA-3, which was solely a compressor, whereas number four introduced an expander function. This is an “upward” expander implementation that raises the signal level above the threshold, and it’s extremely useful for increasing or restoring the dynamic range of any program material. Lastly, it's worth mentioning that the flexible detector arrangement allows it to be used as a wideband processor, effectively turning the MLA-4 into a “trifecta” dynamics manipulation tool that can do multiband compression, multiband expansion as well as operate at full bandwidth.
The Maselec MLA-4 Triband Compressor & Expander
Its sound is often described as super transparent, and that is quite a feat given its multiband nature - in the days of analog, multiband processors were often met with concerns due to the crossover points, which were considered to be an Achilles’ heel due to issues they introduce around those frequency areas, but that’s not the case at all here. In true Maselec fashion, the MLA-4’s architecture ensures that problems such as tonal shifts or phase distortion are kept at bay, so the focus always stays on the music and not on the “box tone”.
Another key aspect is the unobstructed layout and concise yet powerful control set, which were designed with an engineer’s workflow in mind and fine-tuned by ear by Leif over long hours of critical listening. This effort to favour the user experience is reflected on the bigger scheme of things such as the distinctive selection of the rather large knobs with stepped controls, but also on small things such as the way the ratio knob works, as it allows users to effortlessly switch from compression to expansion - turn it clockwise to trigger the expander, turn it counterclockwise to engage the compressor.
A major feature on the MLA-4 is the “Sidechain Link”, which offers five modes: “Linked” for compressing or expanding all three bands by the same amount like a regular stereo processor, “Off” for having each band operating separately (default setting), “L->M” and “L->H” for respectively making the low band trigger the mid and high band regardless of other dialed settings, and “L->MH” for making the low band trigger both mid and high bands despite any other setting. This opens up interesting ways of using the MLA-4 and deepens its creative or problem-solving applications.
The MLA-4 usually sells for around eight to ten thousand dollars depending on the condition of the unit, and since its production runs were quite limited you can consider yourself lucky if you can get your hands on one of these beauties, let alone a brand new one! In this regard, it makes perfect sense to have it ported as a plug-in, especially coming from Relab after the stellar job they have done with the Maselec MEA-2 Equalizer.
The Relab Maselec MLA-4 Plug-In
Three magic bands
Relab’s credentials are second to none when it comes to modelling hardware, and once again it is put on full-display here. They have not only accurately emulated the MLA-4, but gave it the “Relab treatment” by adding a heap of new features to equip this plug-in to be on par with current-day standards, so let’s break down each of these additions.
Let’s start with what’s new on the bands themselves, and here we have some convenient extras on the bottom section. Each band now features a handy “SOLO” button, which is useful to isolate their sound for more precise monitoring and fine-adjustment purposes, and an “IN” button is also available, so users can engage or bypass each band more easily. The three bands can now be triggered by an external sidechain by pressing the “SC” button, and that is extremely valuable for those looking for the popular “ducking” techniques which are quite popular in modern music.
Another useful feature on the detector side is the "Sub Cut" for the low band: as the name implies, it applies a high-pass filter to the sidechain in order to reduce its sensitivity to ultra-low frequencies, and that's quite useful to prevent unwanted "pumping" on the low end. Conversely, on the other side of the spectrum, the high band is equipped with a “boost SC” button that, as the name suggests, applies a boost in the sidechain in order to increase its sensitivity, allowing for its dynamic action to be more easily triggered, which is great for de-essing and sibilance control.
Last but not least, a “THD” button is available for each band, and that allows users to inject or bypass the total harmonic distortion present on the analog hardware - which was more on the subtle than on the dramatic side, but it’s definitely there and offers us a slightly different flavour.
Truly know your levels
Metering is plentiful on this plug-in, and besides the usual input/output levels with clipping display and per-band compression/expansion meters, the MLA-4 also offers an extended metering mode with sidechain levels that shows the levels going into each band, which is handy for checking how hot the signals are coming in. A "zoom" switch is also available on the compression/expansion meters and it flips the operating range from +12/-24 to +4/-8 dB, allowing for easier visualization of the dynamics processing.
A key aspect to note is that we have two different scales in play here, with the input/output being displayed as a dBFS scale and the gain reduction/expansion being displayed as a “regular” dB scale, like you would find on analog gear and on the MLA-4 hardware itself. This way the plug-in stays a hundred percent truthful to the original unit whilst also taking advantage of what the digital technology has to offer.
More than effortless operation
Maselec’s elegance when it comes to gear design is second to none, and it remains intact on this plug-in, with a sleek interface that closely follows the hardware’s unobstructed layout. As expected from a plug-in of this caliber, the interface is fully resizable from 75 to 200% to accommodate all sorts of displays and resolutions. There are no hidden boxes or sub-menus to be found, with all controls being readily within reach, which greatly facilitates the user experience and allows for the focus to stay fully on the dynamics manipulation possibilities offered by the MLA-4.
The MLA-4’s handy auto-gain allows for quickly matching levels with utmost precision
Another feature that further enhances the workflow is the auto-gain implementation, which offers two buttons for users to easily match levels: spectral balance and level. The first adjusts the level of each band relative to their input level, whilst the latter adjusts the output level so that there are no volume discrepancies between what’s coming in and what’s going out. When used in tandem with the sidechain levels display and input/output meters they offer a perfect way to evaluate the processing without tricking the user into that infamous “louder is better” trap.
The plug-in also offers a handy way of isolating the left and right channels with “Cut” buttons placed below the input knobs for each channel, which is quite useful for hunting pesky issues - and when used alongside the “Solo” band functions allows users to truly zoom in and detect exactly what’s going on, so no stone will be left unturned!
Getting the best out of the MLA-4
The first tip we need to share about the MLA-4 is actually about terminology: most of the times when we are talking about expanders we are referring to “downward expanders”, and more often than not we are actually referring to its more extreme use, commonly known as “gate” i.e. signals below the threshold are decreased to a point where they are mostly suppressed or even entirely silenced. However, with the MLA-4 we are not dealing with this particular implementation, and instead we are dealing with an "upward expander”, which is totally different: they raise the signal above the threshold, thus increasing the differences between loud and quiet parts of the material. Both tools are “expanding” the dynamic range, but in totally opposite ways.
Our second tip follows the first: don’t be afraid to expand! Although most mastering and/or mix bus processing doesn’t usually evolve around expansion, the MLA-4 is extremely musical when doing both compression and expansion, so make sure to give that expander function a go as it is particularly useful on “squashed” material with little to none headroom. In that regard, make sure to try compressing and expanding at the same time with different bands!
For our third and final tip, we need to say that although the MLA-4 is mostly aimed at mastering duties, there’s nothing stopping you from using on anything that can benefit from its powerful dynamics shaping. It’s a great de-esser and vocal shaper, with the high band taming the harshness whilst the mid and low bands take care of the levelling duties - just remember to set the crossover to 6kHz and engage the “Boost SC” button.
Get your (multiband) dynamics done, right now!
The Relab Maselec MLA-4 plug-in is now available for Mac and Windows computers on all popular formats (AAX, Audio Unit and VST) for the retail price of $199 US Dollars. An iLok account is required and the plug-in can be used on up to two computers simultaneously using an USB dongle or local machine activation. A fully-functional seven days demo is also available.
For more information and to buy, please visit Relab’s website.
Maselec’s story is an interesting case of musical experience and technical excellence coming together to create gear that elevates our craft like few others. Envisioned by the legendary Leif Mases in the late 1980s, the company was born out of his relentless pursuit for improving sonic quality to a level where it would meet his measure. Having worked with the likes of Led Zeppelin, Jeff Beck, Ian Gillan, Europe, Black Sabbath and numerous artists from his home country, Leif’s resume as a music producer and recording/mixing engineer speaks for itself, but it’s his accomplishments as an inventor and innovator that most interests us here - we’re on Gearspace after all!
Leif Mases - Producer and Maselec founderLeif’s foray into electrical engineering came through a request from the Swedish producer Marcus Osterdahl: he wanted a custom console filled with EQs and compressors in a “no-compromises” approach that perfectly matched Leif's philosophy and approach to sound. Shortly after, Leif received a request to modify a console for the famed Polar Studios in Stockholm, where he improved their large-format Harrison desk in order to enhance its sound and stability. These works ignited the spark for Leif to launch his own product line, which would become known as Maselec.
The company’s first product was a retrofit for the SSL 4000 console’s equalizer called Maselec 9001, which came out in the late 1980s and turned out to be quite a hit among big studios. Its goal was to make the SSL channel EQ sound more musical, more Neve-esque if you will, and it was a glimpse of what was about to come. It was followed by the now legendary MEA-2 Stereo Equalizer, a staple on mastering circles and still one of the most coveted analog EQs out there. It was only natural to follow with a dynamics processor, and that’s exactly what we are going to talk about.
More than meets the eye
The MLA-4 is a three-band dynamics processor, which may sound confusing at first given that number four on its name, but there’s a reason for that as it follows Maselec’s history and naming convention: the MLA-4 quite literally expanded upon its predecessor the MLA-3, which was solely a compressor, whereas number four introduced an expander function. This is an “upward” expander implementation that raises the signal level above the threshold, and it’s extremely useful for increasing or restoring the dynamic range of any program material. Lastly, it's worth mentioning that the flexible detector arrangement allows it to be used as a wideband processor, effectively turning the MLA-4 into a “trifecta” dynamics manipulation tool that can do multiband compression, multiband expansion as well as operate at full bandwidth.
The Maselec MLA-4 Triband Compressor & Expander
Its sound is often described as super transparent, and that is quite a feat given its multiband nature - in the days of analog, multiband processors were often met with concerns due to the crossover points, which were considered to be an Achilles’ heel due to issues they introduce around those frequency areas, but that’s not the case at all here. In true Maselec fashion, the MLA-4’s architecture ensures that problems such as tonal shifts or phase distortion are kept at bay, so the focus always stays on the music and not on the “box tone”.
Another key aspect is the unobstructed layout and concise yet powerful control set, which were designed with an engineer’s workflow in mind and fine-tuned by ear by Leif over long hours of critical listening. This effort to favour the user experience is reflected on the bigger scheme of things such as the distinctive selection of the rather large knobs with stepped controls, but also on small things such as the way the ratio knob works, as it allows users to effortlessly switch from compression to expansion - turn it clockwise to trigger the expander, turn it counterclockwise to engage the compressor.
A major feature on the MLA-4 is the “Sidechain Link”, which offers five modes: “Linked” for compressing or expanding all three bands by the same amount like a regular stereo processor, “Off” for having each band operating separately (default setting), “L->M” and “L->H” for respectively making the low band trigger the mid and high band regardless of other dialed settings, and “L->MH” for making the low band trigger both mid and high bands despite any other setting. This opens up interesting ways of using the MLA-4 and deepens its creative or problem-solving applications.
The MLA-4 usually sells for around eight to ten thousand dollars depending on the condition of the unit, and since its production runs were quite limited you can consider yourself lucky if you can get your hands on one of these beauties, let alone a brand new one! In this regard, it makes perfect sense to have it ported as a plug-in, especially coming from Relab after the stellar job they have done with the Maselec MEA-2 Equalizer.
The Relab Maselec MLA-4 Plug-In
Three magic bands
Let’s start with what’s new on the bands themselves, and here we have some convenient extras on the bottom section. Each band now features a handy “SOLO” button, which is useful to isolate their sound for more precise monitoring and fine-adjustment purposes, and an “IN” button is also available, so users can engage or bypass each band more easily. The three bands can now be triggered by an external sidechain by pressing the “SC” button, and that is extremely valuable for those looking for the popular “ducking” techniques which are quite popular in modern music.
Another useful feature on the detector side is the "Sub Cut" for the low band: as the name implies, it applies a high-pass filter to the sidechain in order to reduce its sensitivity to ultra-low frequencies, and that's quite useful to prevent unwanted "pumping" on the low end. Conversely, on the other side of the spectrum, the high band is equipped with a “boost SC” button that, as the name suggests, applies a boost in the sidechain in order to increase its sensitivity, allowing for its dynamic action to be more easily triggered, which is great for de-essing and sibilance control.
Last but not least, a “THD” button is available for each band, and that allows users to inject or bypass the total harmonic distortion present on the analog hardware - which was more on the subtle than on the dramatic side, but it’s definitely there and offers us a slightly different flavour.
Truly know your levels
A key aspect to note is that we have two different scales in play here, with the input/output being displayed as a dBFS scale and the gain reduction/expansion being displayed as a “regular” dB scale, like you would find on analog gear and on the MLA-4 hardware itself. This way the plug-in stays a hundred percent truthful to the original unit whilst also taking advantage of what the digital technology has to offer.
More than effortless operation
Maselec’s elegance when it comes to gear design is second to none, and it remains intact on this plug-in, with a sleek interface that closely follows the hardware’s unobstructed layout. As expected from a plug-in of this caliber, the interface is fully resizable from 75 to 200% to accommodate all sorts of displays and resolutions. There are no hidden boxes or sub-menus to be found, with all controls being readily within reach, which greatly facilitates the user experience and allows for the focus to stay fully on the dynamics manipulation possibilities offered by the MLA-4.
The MLA-4’s handy auto-gain allows for quickly matching levels with utmost precision
Another feature that further enhances the workflow is the auto-gain implementation, which offers two buttons for users to easily match levels: spectral balance and level. The first adjusts the level of each band relative to their input level, whilst the latter adjusts the output level so that there are no volume discrepancies between what’s coming in and what’s going out. When used in tandem with the sidechain levels display and input/output meters they offer a perfect way to evaluate the processing without tricking the user into that infamous “louder is better” trap.
The plug-in also offers a handy way of isolating the left and right channels with “Cut” buttons placed below the input knobs for each channel, which is quite useful for hunting pesky issues - and when used alongside the “Solo” band functions allows users to truly zoom in and detect exactly what’s going on, so no stone will be left unturned!
Getting the best out of the MLA-4
The first tip we need to share about the MLA-4 is actually about terminology: most of the times when we are talking about expanders we are referring to “downward expanders”, and more often than not we are actually referring to its more extreme use, commonly known as “gate” i.e. signals below the threshold are decreased to a point where they are mostly suppressed or even entirely silenced. However, with the MLA-4 we are not dealing with this particular implementation, and instead we are dealing with an "upward expander”, which is totally different: they raise the signal above the threshold, thus increasing the differences between loud and quiet parts of the material. Both tools are “expanding” the dynamic range, but in totally opposite ways.
Our second tip follows the first: don’t be afraid to expand! Although most mastering and/or mix bus processing doesn’t usually evolve around expansion, the MLA-4 is extremely musical when doing both compression and expansion, so make sure to give that expander function a go as it is particularly useful on “squashed” material with little to none headroom. In that regard, make sure to try compressing and expanding at the same time with different bands!
For our third and final tip, we need to say that although the MLA-4 is mostly aimed at mastering duties, there’s nothing stopping you from using on anything that can benefit from its powerful dynamics shaping. It’s a great de-esser and vocal shaper, with the high band taming the harshness whilst the mid and low bands take care of the levelling duties - just remember to set the crossover to 6kHz and engage the “Boost SC” button.
Get your (multiband) dynamics done, right now!
The Relab Maselec MLA-4 plug-in is now available for Mac and Windows computers on all popular formats (AAX, Audio Unit and VST) for the retail price of $199 US Dollars. An iLok account is required and the plug-in can be used on up to two computers simultaneously using an USB dongle or local machine activation. A fully-functional seven days demo is also available.
For more information and to buy, please visit Relab’s website.
