The Buzz Audio DBC-M diode bridge mastering compressor is 1 rack unit high in a 250mm/10" deep case. Build quality is confidence-inspiringly sturdy, and the front panel features two identical compression channels.
The controls are, from left: Gain – for post-compression gain makeup in 0.5dB steps; next is Compress, which controls the amount of gain reduction: both this and Gain are high quality Elma rotary switches – all controls are switched on the unit, aiding audio quality and making recalls easier.
Next are two smaller six-position rotaries, Attack and Release, both offering a variety of speeds – Attack includes a Fast (less than 0.5ms) setting handy for taming transients, and Release features an Auto position, where faster elements are allowed through but slower operation applies on more constant signals.
To the right of the control knobs are three toggle switches: firstly, Hard/Soft. Diode bridge compressors typically have no ratio control; instead, as here, ratio changes with gain reduction so at small amounts the ratio in the DBC-M starts at about 2:1, rising to around 10:1.
In the Hard position the self-adjusting ratio works normally, whereas in Soft mode some dynamics are retained when only light compression is required. The next switch is Flat/ Bass: when Bass is engaged, a high-pass filter is added to the side chain to reduce the sensitivity of the compressor at low frequencies – this can be useful when mastering bass-heavy music to retain low-end dynamics and avoid LF elements pumping the whole track. The final toggle of the three is Bypass/Engage, a 'proper' hard-relay bypass.
To round up front panel components, there's an LED gain reduction meter above the switches mentioned above, then to the right a switch to link the two channels for stereo operation. Finally, on the extreme right I was pleased to see a power switch: lack of these at the front of a piece of gear – or at all – is something of a pet hate of mine, so having one is always a plus point for me.
In Use When the review unit arrived it was plumbed into the mastering console here at Lowland Masters, and listening tests took place over a period of about a week. As I already own a diode bridge compressor from another manufacturer, I started by taking existing mastering projects, substituting the DBC-M and comparing results.
While I'm not about to rush out and sell my unit (yet!), the Buzz did extremely well: among the first things I noticed was how good the on-board steel transformers sounded – although they had a colouration of their own, it was clear and tight, a good fit for much music in the pop, rock and dance/urban genres although surprisingly good on acoustic material as well.
The sidechain bass rolloff really came into its own on electronic dance music: I don't have this on my own diode bridge unit, so it was refreshing to be able to have more control over how the lows were presented.
The warm and musical compression action of the DBC-M was largely as I expected in a compressor with this kind of gain control element, but I appreciated the variation I could achieve using the Bass and Hard/ Soft switches.
After a while with the unit, unlike some compressors I found that for any given program material there would usually be a range of settings that worked, something to be welcomed: while too much choice in mastering isn't always a good thing, in this case I felt it put control firmly in my hands to create the dynamics that best fitted the project.
My only comment with the Buzz concerned the gain reduction meter: it measures up to 20dB, which I'd be unlikely to use in mastering; also, the smallest amount indicated is 1dB, but I regularly use a fraction of that. Fortunately, 'ears before eyes' did the trick during the review period, the onset of compression being clearly audible.
If I was to buy a DBC-M, I might ask for a meter scale modification, as Tim Farrant is known for being receptive to user requests. Conclusion The Buzz DBC-M is a fine compressor, well suited to the mastering environment and more. While it might not be your only compression choice, it's surprisingly versatile and can get great results in a range of musical situations.


World Cup Diamond-2015/ kickboxing WAKO takes place on September 22-27, 2015, at resort Vityazevo in Anapa, Russia.
For all necessary information about the event please download herewith enclosed official invitation, hotel reservation form, visa request and registration form.
It is my pleasure and great honor to invite you to next WAKO European Cadets and Juniors Championships that will take place in San Sebastian, Spain from 22nd to 29th August, 2015.
All necessary information about the event you can find in Official Invitation and also on both WAKO Europe and WAKO IF web pages.
Looking forward to see you all in San Sebastian!
KBH Internationales Masters in Kalsdorf/Styria(Austria) on 2nd-3rd May 2015.
ALPE ADRIA OPEN 2015 will take place at Dom sportova "Mate Parlov" Pula, in Croatia, on May 9th, 2015.


text:
I SPECIALIZE IN POP CULTURE OVER ANALYSIS AND THE CONTEMPLATION OF MEANINGLESS MINUTIA!
Back in the Saddle Again: 'Unforgiven' Turns 20
The film industry caters to cravings of its public, and American audiences have always craved one thing above all else: escapism. For a very long time, that escapism came by way of Westerns. Many of these films had very little use for realism or historical accuracy. They envisioned the American Frontier as a place where men settled their differences by way to the gun. The "white hats" operated according to a rigid code, which sometimes required them to kill. So long as blood was spilled in the name of revenge, or some other righteous notion, violent actions were never questioned. Such low regard for human life quickly became par for the course, and filmmakers dished it out heartily.
Clint Eastwood has built a storied career off of such films. By the early 1990's, his name had long become synonymous with both the Western and Action genres. Characters like Dirty Harry and The Man with No Name were the very definition of iconic. Nevertheless, Eastwood had grown weary of such fare. He was becoming more conscientious, and more sensitive to the effects his work had on the public consciousness. It was time for a change, and he had the perfect screenplay in mind. He'd been saving it for quite some time, and would now use it to send his grim persona out to pasture.
Unforgiven begins in the small town of Big Whiskey, Wyoming. In a small room atop a local saloon, two drunken cowboys assault a beautiful young prostitute. The saloon owner demands restitution, as a disfigured prostitute is of little use to him business-wise. The other women under his employ demand a much harsher punishment, as the young girl could easily have been killed. The local sheriff, Little Bill Daggett (Gene Hackman), is brought in to mediate. He initially decides on flogging the men with a bullwhip, but instead opts for another form of compensation. Each man is required to turn over a number of ponies to the saloon owner for his trouble. Incensed, the women pool their meager resources and place a $1000 dollar bounty on the heads of the culprits.
News of this bounty spreads far and wide. In Kansas, a young braggart named the Schofield Kid (Jaimz Woolvett) brings word of it to William Munny (Clint Eastwood). In his youth, Munny was a fearsome assassin. His violent exploits have since become the stuff of legend. Alas, he is now widower with a failing pig farm. He refuses the Schofield Kid's offer, sending the young man on his way. He later reconsiders, bringing in his old partner, Ned Logan (Morgan Freeman). The two men ride out to meet with the Schofield Kid. The trio then heads into Big Whiskey with guns in tow. Little Bill lies in wait for all who wander through his town hoping to collect on the fabled "whores gold." Both Munny and Daggett end up on a collision course which will no doubt result in bloodshed. In the process, the sins of the past will be unearthed.
Unforgiven was born during the mid to late 1970's. Screenwriter David Webb peoples initially conceived the tale under the suitably grim titles The Cut Whore Killings and The William Munny Killings. For the first few years of its existence, the finished screenplay was attached to Francis Ford Coppola. During that time, it was brought to Clint Eastwood's attention. The star became quite taken with it, and waited patiently in the wings until it became available. In 1983, at the age of 53 years old, he finally acquired it.
Despite his initial enthusiasm, Eastwood sat on the project for nearly a decade. His hesitance was partially due to his vision for the main character, which he hoped to play. The Screenplay described William Munny as being in his late 30's, but Eastwood imagined him as being much older. He also saw the film as being an epilogue of sorts. His days as a cinematic gunslinger would one day come to an end, and he meant to be prepared for the transition.
By the early 1990's, the time had finally come. Eastwood's star power had begun to fade. A number of ill-conceived action vehicles had adversely affected his bankability. He'd become predictable. Audiences had moved on to younger, more exciting action stars to get their thrills. If Eastwood hoped to maintain any measure of credibility, he had to switch gears.
Unforgiven went into Preproduction in the spring of 1991. Eastwood wanted the casting to reflect his considerable ambitions for the project. Gene Hackman was cast as the brutal Sheriff, Little Bill Daggett. Morgan Freeman would play William Munny's running partner, Ned Logan. Richard Harris would be featured as English Bob.
True to Eastwood's vision, Unforgiven was quite unlike any of his other Westerns. It was not a traditional cowboy flick, nor was it highly stylized cartoon of the sort that Sergio Leone was known for. It eschewed the romanticism of old Hollywood for something more honest. It's every bit a revisionist piece that seeks to deconstruct the genre.
Genre aficionados will note that all the familiar tropes are present. There is the retired gun who straps on his six-shooters one last time. There's also the "whore with a heart of gold." Last but not certainly not least is the valiant lawman who seeks to defend the townsfolk from those who would prey on them. Eastwood honors these archetypes, while at the same time subverting them. They aren't limited to the requirements of plot and convention. They react to their circumstances in a relatable and realistic manner.
Both Little Bill and the saloon owner display the kind of callousness and casual chauvinism that one would expect from this kind of film. They see the women as property. In a huge departure from genre convention, Eastwood allows the female characters to have a voice. They are not merely passive victims, nor are they pawns of the male characters. They endure horrible indignities, yet are compelled to act on their own behalf.
The films sense of morality is complex. It offers no easy answers. Bill's punishment of the two cowboys is much too lenient. Yet the bounty posted by the prostitutes doesn't exactly suit the crime. Despite her severe injuries, Delilah is very much alive after her ordeal. Yet, the other women demand considerably more than the requisite pound of flesh. The characters in Unforgiven see the world in terms of extremes. On the one hand is the veritable slap on the wrist. On the other is the guillotine.
As played by Gene Hackman, Little Bill Daggett sees himself as merely keeping the peace. He's an ex-gunfighter who's worked the "tough towns" (Per the testimonials of his deputies). He knows what it takes to maintain order. In any other movie, the characterization would end there. However, Eastwood allows the viewer to look beneath the proverbial hood.
In actuality, Bill is more of a feudal lord than a simple lawman. He rules through fear and intimidation. Though he claims to hate "assassins, and men of low character," he employs many of the same tactics. Public beatings and torturous interrogations are part of his oeuvre. He is both a sadist and a coward. He enjoys doling out punishment, but never once engages in a fair fight. Whenever approaching a suspect, he is sure to have his armed deputies in tow. He enforces the city ordinance regarding firearms as though it were a commandment handed down from on high, yet he tolerates brutality against women (to a degree).
By contrast, William Munny has no illusions about who he is, or more specifically, what he once was. His violent rampages as a young man were often fueled by alcohol. Both his alcoholism and his bloodlust were quelled by the love of a good woman. Without her to serve as his moral compass, Munny devolves. A less thoughtful film might put a heroic spin on his character arc. Unforgiven shows it to be exactly what it is: regression. His fall from grace is fueled by money, and later, vengeance. At journey's end, he finds not redemption, but shame and regret.
Ned Logan is the sacrificial lamb. Per the time honored cliché, he gives his life in protection of his white partner. This moment takes place off screen, and without any connotations of nobility or honor. Interestingly, Ned is essentially whipped to death. Whether or not this was a conscious choice on Eastwood's part is unclear.
With the pairing of English Bob (Richard Harris) and W. W. Beauchamp (Saul Rubinek), Eastwood comments on how the old west has been romanticized by Hollywood. English Bob is a gunfighter who seeks to capitalize on his violent reputation. He offers fanciful accounts of his violent deeds. Beauchamp, his biographer, takes him at his word. Once Bob is exposed as a fraud, Beauchamp makes Little Bill the focus of his next novel. In taking Bob's place, Bill himself is also exposed as a deluded egotist. Beauchamp finds the "real west" in William Munny. Unlike Bob and Little Bill, Munny does not wish to have his brain picked, or his life immortalized. He is the low-hanging fruit on the tree of knowledge. Instead of enticing Beauchamp to take a bite, he warns him away.
Last but not least is the audience surrogate, The Schofield Kid. Like the audience, the Schofield Kid seeks adventure and excitement. Also like the audience, his perception of the Old West is based on the fictions of dime novels. Reality proves too much for him to bear.
Unforgiven often feels like a man doing penance for a lifetime of sin. In Eastwood's case, the sins in question amount to the repeated glorification of violent men. The motion picture academy accepted his apology graciously, bestowing upon it their highest honors. Instead of returning to his usual fare afterward, Eastwood pressed on in the new path he'd set for himself. That choice has yielded a number of films that are supposedly better and more meaningful than the ones he did earlier in his career. Alas, none of them have had the raw impact of Unforgiven. 20 years later, the stench of death still hangs around the film, and its guilt pangs can still be felt.
Labels: Anniversary, Clint Eastwood, Film Noir, Gene Hackman, Morgan Freeman, Richard Harris, Spaghetti Western, Tribute/Celebration, Unforgiven, Western
Cedric August 15, 2012 at 11:05 PM
Loved this Movie...Soundtrack is beautiful. Pale Rider was great also...especially when Clint goes up against the Rogue for hire Sheriff and his deputies. Interestingly an older t.v. western series stars the Sheriff circa (1959)...ah...Lonsome Dove...wish there were more of these type films being made !
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Information about how the law requires you to give the divorce papers to your spouse. be served: Hand-delivery OR; Certified mail, return receipt requested. Certified mail, return receipt requested: Serving divorce papers this way requires that your spouse sign a paper that is attached to the envelope when he. If you filed for divorce, you must have copies of your court papers served on ( given The server can mail the papers by registered or certified mail, with service.
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Getting a divorce appears traumatic, but if you know how to go about it, it does not have to be so Another option is to serve the divorce papers by Certified Mail. The consensus in an informal survey of court clerks is that about 50% of court papers served by certified mail are accepted. If you try using the mail to serve your. Nov 7, Below is an overview of who can serve divorce papers to your spouse If you send the divorce papers via certified mail, you must obtain the. This article tells you how to serve your spouse with the initial divorce papers. mail the initial divorce papers to your spouse by registered or certified mail, return .


HomeJim Parsons Expresses Interest in Playing a Villain–But Which One?
Jim Parsons Expresses Interest in Playing a Villain–But Which One?
In a recent interview with MTV, Jim Parsons (The Big Bang Theory) confessed his desire, if he were to join the comic universe, to play not as an iconic super hero, but as a villain — Entertainment Earth News reports.
Which villain you ask? Well riddle me this, riddle me that… It would be none other than the Riddler!
What we would give to see Parsons play the Riddler. His sly smile, tall and slender build, along with the acting skills to create such a devious villain would make him perfect for the part.
What do you think if Parsons took on a role as the Riddler? Let us know what you think in the comments below!
PopcultHQ Trivia: Marvel's Original God of Thunder, Thor! Eric Allan Kramer?