Pro Audio

the PINNACLE OF DYNAMICS CONTROL

COMPRESSOR, LIMITER, AND DE-ESSER

For precise and musical dynamics control, the Weiss DS1-MK3 is one of the most revered dynamics processors ever created. Leading mastering and mixing engineers praise its transparency, unique feature set, and versatility. The DS1-MK3 is a full-band compressor, limiter, and de-esser with M/S mode and parallel compression facilities. 

Since 2018, the DS1-MK3 is also available as a plug-in for any major digital audio workstation. The plug-in is a 1:1 code port provided by Softube in collaboration with Weiss Engineering.

Weiss - Pro Audio - EQ 1 - Front
Pro Audio

Main Features

Weiss DS1-MK3

BASIC EQ1 FUNCTIONS

The basic features are common to all four models, namely the seven identical parametric bands, i.e. all seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs and operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass.

Snapshots, MIDI, metering

Other basic features are an A/B compare memory, a 128-position snapshot bank with two additional banks for back-up (can also be dumped/recovered via MIDI), a peak meter with over indicators, MIDI control for each parameter, an overall bypass switch, and an overall gain control, a channel ganging switch.

M/S MODE

The EQ1 can be switched to M/S mode which is especially useful for the dynamic model of the EQ1. Other specialties are variable slope shelving filters and very high-Q (up to 650) peaking filters for notching out offending frequencies.

Controls, display

There are seven times three knobs in order to have “one knob per parameter” operation. The knobs are touch sensitive to switch the LCD to display the parameters of the touched band. The LCD shows the overall frequency response, the detailed parameter values and various status information.

Signal processing, connectivity

The internal processing is done at 88.2 or 96 kHz in a 40 Bit floating-point format. A very low noise filter architecture optimized for audio is used. The digital input/output are in AES/EBU format on XLR connectors. The AES/EBU output can be POW-R dithered to 16, 20 or 24 Bits.

Weiss - Pro Audio - DS1 MK3 - Front
Weiss - Pro Audio - DS1 MK3 - Rear
Click image to change front/rear view
Pro Audio

Technical Data

Weiss DS1-MK3

AES/EBU Input
  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz.
  • Maximum input word-length: 24 Bits.
  • Channel Status Data: Input accepts professional or consumer format. 
  • Channel Status Data Bits forwarded to AES/EBU output: see table below.
  • Connector: XLR female.
AES/EBU Output
  • Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz (always the same as the input). 
  • Output word-length: 24 Bits.
  • Connector: XLR male.
Dithering

Dithering algorithms are implemented using the POW-R set of algorithms, i.e. POW-R #1, POW-R #2, POW-R #3.

Dimensions
  • Depth: 30 cm / 11.8 inches
  • Width: 43.3 cm / 17 inches (19 inches with rack ears)
  • Height: 8.8 cm / 3.5 inches (2 RU)

Note: For more detailed product specifications, please refer to the user manual.

Press Reviews

What the media say

EQ1 - Gearwire
Gearwire

Audio YouTube Channel

DS1-MK3

As far as any gear in the studio, this is the one I can’t live without. It’s unbeatable. I haven’t heard anything else, be it analog or digital, that even comes close to this thing.

Collin Jordan
Zack Smith Dustpan Music
Zack Smith

Mastering engineer, Dustpan Music

DS1-MK3

Instantly with the DS-1 we heard something amazing. It’s a really transparent sound and with a world-class de-esser.

Zack Smith
ADC2 - ProAudioReview.com
Pro Audio Review

Pro Audio Magazine

DS1-MK3

The sound of the DS1-MK2 is impeccable. It is the most transparent, refined, flexible and least ”digital-sounding” dynamics processor I have ever used…I use it on over 90 percent of my mastering projects.

Bob Katz

Weiss Artists

What THE USERS say

Bob Katz – DS1-MK3

Bob Katz

“The sound of the DS1-MK3 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.

If 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. In many 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 three 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.

This 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.

Clete Baker – DS1-MK3

Clete Baker

“Thanks for upholding that level of quality“

We recently bought a used DS1 and have upgraded it to MK2, 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.”

Francois Lalonde – DS1-MK3

Francois Lalonde

“ I love the Weiss Deess“

I have been working with Weiss products for quite some time now whether it is the ADC2 for tracking vocals, the DS1 Mk3 on the Mix buss, the Compressor/Limiter on a Buss or the Weiss Deess on Vocals.

I always use the DS1Mk3 plugin on my Mix buss; it just adds the finishing lacker to the Mix, the Mix buss without the DS1Mk3 feels naked. I love the Weiss Deess; it works amazingly well on vocal and just about anything that needs high-frequency manners. The parallel setting on the Weiss Compressor /Limiter is my go-to for a solid buss, like the Drum or Guitar buss. The limiter is fantastic at holding the peaks transparently and musically. The parallel setting on the Weiss Compressor /Limiter is my go-to for a solid buss, like the Drum or Guitar buss. The limiter is fantastic at holding the peaks transparently and musically.

Bob Katz - Mastering engineer (Photo: Mary Kent)
Clete Baker - DS1-MK3
Doug Milton - DS1-MK3
Alan Silverman, Arf! Digital, USA
Robert Fix, Mastering Engineer, Italy
Goran Finnberg - DS1-MK3
Brad Blackwood, Ardent Mastering, USA
Bernie Becker - DNA1
Carlos de Andrade, Visom Digital, Brasilia
Glenn Schick, Glenn Schick Mastering, USA
Roger Seibel - DS1-MK3 1
Glenn Meadows - DS1-MK3
Steve Hall, Future Disc Mastering, USA
Francois Lalonde - ADC2
Michael Fossenkemper, TurtleTone Studio, USA
Bob Katz

World-renowned mastering engineer

The sound of the DS1-MK3 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.

Clete Baker

Studio B, USA

We recently bought a used DS1 and have upgraded it to MK2, 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 Milton

Cyberella Studios, USA

well I’ve had the DS1 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 DS1 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.

Alan Silverman

Arf! Digital, USA

The DS1-MK2 is extraordinary. The sound has a richness and ease of listening that is not approached by any other device in my experience.

Robert Fix

Mastering Engineer, Italy

I am completely delighted by this machine and do intend to buy other products from Weiss in the future.

Goran Finnberg

The Mastering Room AB, Sweden

The 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.

Brad Blackwood

Ardent Mastering, USA

The 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.

Bernie Becker

Bernie Becker Recording, USA

We 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 it’s hard to beat the Weiss for digital or the Vari-Mu for analog.

Carlos de Andrade

Visom Digital, Brasilia

The 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.

Glenn Schick

Glenn Schick Mastering, USA

I am happy to say that my facility Glenn Schick Mastering has released thousands of CD’s mastered with the DS1. I LOVE this unit.

Roger Seibel

SAE Mastering, USA

The DS1 is very smooth and transparent. It has none of the ‘edge’ that seems to plague all other dynamics processors.” 
Ken Lee, Ken Lee Mastering, USA. Weiss is the best of all the digital compressors I’ve heard, nothing else comes close sonically.

Glenn Meadows

Masterfonics, USA

For ‘Neutral Digital’, the only word in my opinion is Weiss. A VERY powerful box. I use two of them together. One for low compression ratios, and the second as a peak limiter. Very musical and powerful.”

Steve Hall

Future Disc Mastering, USA

The DS1-MK3 sounds amazing! Iʼm blown away. Itʼs a major improvement. Great work guys!

Francois Lalonde

USA

I have been working with Weiss products for quite some time now whether it is the ADC2 for tracking vocals, the DS1 Mk3 on the Mix buss, the Compressor/Limiter on a Buss or the Weiss Deess on Vocals.

Michael Fossenkemper

TurtleTone Studio, USA

Right now I use the Weiss DS1-MK2 compressor. Once you go Weiss, you never go back.

Product Downloads

For your DS1

DS1 High Resolution Photos
  • N/A
  • zip
  • 1.9 MB
DS1 Manual
  • 1.0
  • pdf
  • 0.6 MB
DS1 Manual
  • 1
  • pdf
  • 0.6 MB
DS1-MK2 Manual
  • 1.0
  • pdf
  • 0.6 MB
DS1-MK2 Manual
  • 1
  • pdf
  • 0.6 MB
DS1-MK3 Hi-Res Images
  • 1.0
  • zip
  • 1.9 MB
DS1-MK3 Manual
  • 1.0
  • pdf
  • 1.4 MB
DS1-MK3 Manual
  • 1
  • pdf
  • 1.4 MB
DS1 Softube Plugins Manual
  • 1.0
  • pdf
  • 4.7 MB
Weiss Gambit Series Latency Documentation
  • N/A
  • pdf
  • 0 MB
Weiss Product Softube Complete Collection
Pro Audio

WEISS Plug-ins

1:1 CODE PORTS for any major DAW

In tight collaboration with Daniel Weiss, the plug-in developer Softube offers a series of Weiss Engineering plug-ins for use with any major digital audio workstation. The underlying digital processing comes from perfect 1:1 code ports of the corresponding hardware Weiss units. Therefore, the plug-ins provide the same sublime results that have made Weiss units staples in mixing and mastering studios for decades.

Some of the Weiss plug-ins maintain the familiar workflow from their hardware counterparts, while others offer layouts and features that better suit a computer-based workflow. Buy single units or get the bundled Weiss Complete Collection. The plug-ins can be purchased from Softube or via its dealer network.

Weiss Softube PLugins

In partnership with Softube

  • Weiss DS1-MK3
  • Weiss EQ1
  • Weiss EQ MP
  • Weiss MM-1 Mastering Maximizer
  • Weiss Deess
  • Weiss Compressor/Limiter
  • Weiss Gambit series for Softube Console 1
  • Weiss Complete Collection