Day Three: today I feel like quite the Pro-MB expert, having come a long way since Saturday's initial plunge. Yeh, it's probably a false confidence based on what I
think I know versus the vast don't-know-I-don't-know universe.
But the plugin is at least doing my bidding - and very well - in at least one scenario: vocal busses. It's like finishing sandpaper: smooths out all the little anomalies that would otherwise say "recorded in some guy's garage on a cheap mike". Truly a turd-polisher, and I mean that in a good way.
OTOH, I tried it on a honky saxophone with somewhat less-impressive results. Turned it into a kazoo. I'm still workin' on that one...
I'm finding that you can use pretty extreme settings without obvious pumping or other weirdness. My usual instinct is to be conservative with compressors and equalizers, but Pro-MB can be given plenty of latitude and its internal smarts will reign everything in. You have to work at it to do something really dumb (but trust me, it ain't impossible).
It's actually fairly easy to tell when I've gone too far with the Range control, which is the primary tweak. Like when I used it for de-essing and the "S"s completely disappeared. Clearly, too far. Knocked a few decibels off the Range and the "S"s came back in just the right amount. Tip: stay away from 48dB/octave slopes except for surgical limiting. 24 works quite well, while 6 or 12 will give you great transparency.
Next up: I'm gonna try it on the master bus and see what trouble I can get into.