Sonimus Britson is designed to emulate both the workflow and sonic character of analog mixing consoles. While inspired by a classic British 8014 console, Britson has a personality all its own. Britson was modeled to impart that classic warm, open, three-dimensional sound.
To get a good mix with warm, open and "three-dimensional" sound, start by leveling your tracks’s volume output using Britson.
If you want to overdrive a voice or a particular instrument, FAT may be good choice. Select the following options in the back panel:
than engaging them post-saturation, when you overdrive the signal. After applying the setting above, simply raise the fader to get an aggressive effect.
VU metering works quite differently than peak metering (DAW meters are peak meters; they are not useful for mixing. You need not pay much critical attention to your DAW’s peak meters). VU meters, on the other hand, are more useful for mixing as they operate similarly to the human ear…
0VU = -18dbfs: Employing these calibration values is the best way to establish good gain staging in a mix. Britson’s saturation will work better and the plugins inserted after Britson will work better too. Your mixes will have more clarity and better dynamic response, due to increased headroom.
FAT mode pushes the saturation, generating more harmonics. With FAT mode engaged, you will perceive headroom reduction/more compressed sound. Fat mode emphasizes low-end saturation and makes for a more aggressive sound.
In general, FAT mode is not recommended for use in conjunction with the method outlined in our “How to Use Britson As a Gain Staging Tool” section. However, you may find FAT mode useful on certain tracks: to “fatten up” a bass guitar or a digital synth, for example. We recommend using FAT mode judiciously. Consider the “trade-off” cost of the necessary loss in headroom before applying.
Britson Buss includes the option to choose a predefined output color EQ, This affects the signal sent to the output saturation algorithm.
Sonimus’ recommended setting is “Default Flat” (bypass). However, if you find your program material suffers from poor highs, you may choose to engage “Master Bright” on the Master Buss instance of Britson. Master Bright imparts more “air” and can serve to “de-harsh” unsatisfactorily recorded material.
A final buss EQ coloration option is “Master Loudness.” Intended for use on the master buss, Master Loudness lends your audio material more “air” on the high-end, and a bitmore warmth on the low-end. As with “Master Bright,” we recommend using Master Loudness judiciously: on occasions when you find your material lacking a pleasant amount of brightness and a satisfying amount of low-end.
You can use Britson in several ways: as an aggressive saturation tool using “output compensation” or/and FAT, to adjust highs and lows using Britson’s HP and LP filters, or simply to add more color to your tracks. You may use Britson as you wish. There are no limits. But we recommend first using Britson in the manner outlined in the “As a Gain Staging Tool” section. Once you have achieved optimal gain staging following this method, you may choose to add another Britson instance for use as a “creative effect”.
Imagine being able to control all Britson instances from a single instance. Imagine the freedom to assign Britson instances into “groups” for simultaneous control of all grouped instances.
Now, with Britson it’s possible to do just that: Turn on/off saturation, choose Fat or Normal mode, make volume adjustments for a group of instruments, and alter the drive for a group of instances, all from the convenience of one Master Instance.