vladg/sound

"Molot" and "Limiter №6" plugins page (and Tokyo Dawn Labs stuff too)

Category Archives: EQ

SlickEQ M Gain/Q interaction

As you know most mastering equalizers offer stepped Q control with Q value optimized for mastering applications. SlickEQ M follows this way too. But instead of copying famous mastering equalizers we developed our own Gain/Q interaction scheme and it was fine-tuned and then approved by real mastering engineers.

Check this example picture for peaking filter graphs:

SlickEQ M Gain/Q interaction

As you can see it’s symmetric proportional Q behavior but besides, it’s not only Gain/Q interaction but it’s actually Gain/Freq/Q interaction. The picture is for “Normal” Q mode but don’t forget, we have 2 steeper and 2 shallower modes too.

Tip: Instead of clicking on “Normal” to open menu allowing to change the mode to “Steep” or “Shallow” just drag the value by the mouse (like gain or frequency value), mousewheel works too.

Now check shelving filters Gain/Freq/Q interaction yourself. Enjoy!

 

SlickEQ M and some tricks for it

Trick #1.

  1. Go to http://www.tokyodawn.net/tdr-slickeq-m/ and download demo version of SlickEQ M.
  2. Create new project, add you track and use SlickEQ M in mastering chain.
  3. Render the project.
  4. If you reopen the project all changes for SlickEQ M demo version will be lost (no persistence) so either forget this project and use the settings from scratch for next time or go “true analog experience” and use recall sheet like on hardware EQ.

Here’s recall sheet for SlickEQ M. But you also can find it on the last page of the [manual].

SlickEQ M recall sheet

Trick #2.

As I’m not professional mastering engineer it always pretty hard for me to get starting points for mastering EQ. Neither using common points (for example 6k for clarity and so on) nor searching the frequencies by boost and sweep work for me. But in SlickEQ M its “learn” ability gives pretty nice starting points!

  1. Add SlickEQ M to your track
  2. Rewind to most representative part of the track (usually chorus works best)
  3. Play audio
  4. Press “Learn” in SlickEQ M.
  5. Wait until “Learning” becomes “Action” and select “AutoEQ”.
  6. You may open the display to inspect the resulting curve.
  7. If the result is too much, play with “Range” control to reduce it a bit.
  8. If you dislike the result, try another parts of the song and press “Re-learn”.
  9. Now close the display to shift your focus on listening and use just “Gain” knobs as on simple graphical equalizer! To reduce your freedom you may even turn on stepped mode and apply stepped gain changes!
  10. And finally add some of “analog” touch by randomizing “pan” controls for 0.1..0.3 dB in both sides.

Enjoy!

SlickEQ M Learn

 

Interesting blog I found today

I had a lot of fun reading this: http://www.chrisgala.org/

With articles like these:

Mix Trick #1: Singer/Songwriter Acoustic Guitar
Mix Trick #2: Exciting Drum Room
Mix Trick #3: Bonham Drum Sound
Mix Trick #4: Snare Ghost Echo
Mix Trick #5: Vocal Double Clarity 

and so on. Check it out!

PS. Also SlickEQ M (mastering edition) plugin is almost ready. And also we’re preparing reissue of Limiter6 (with AAX support, variable modules order and few new features). Stay tuned!

SlickEQ M (coming soon)

Stepped controls in SlickEQ

Why do you want to use stepped controls in an equalizer? I see 2 possible reasons:

  1. To quickly adjust the sound you like (something like a coarse tuning before the fine tuning)
  2. To quickly match 2 instances of the plugin

Probably you didn’t know that SlickEQ supports stepped controls by right mouse drag or Ctrl + mouse drag on knobs.

Stepped controls in SlickEQ

This is how the snap points are defined by default:

lowBandFreqParam=”30,40,60,85,120,175,250,350,500,700,1k”
midBandFreqParam=”100,150,250,400,650,1k,1.5k,2.5k,4k,6.3k,10k”
highBandFreqParam=”500,750,1.2k,1.8k,2.8k,4.4k,7k,10k,16k,25k,40k”
hpFreqParam=”10,15,20,30,40,60,85,120,170,250,350″
lowBandGainParam=”-18,-16,-14,-12,-10,-8,-6,-4,-2,0,2,4,6,8,10,12,14,16,18″
midBandGainParam=”-18,-16,-14,-12,-10,-8,-6,-4,-2,0,2,4,6,8,10,12,14,16,18″
highBandGainParam=”-18,-16,-14,-12,-10,-8,-6,-4,-2,0,2,4,6,8,10,12,14,16,18″

And now the secret information. The snap points can be changed! Unfortunately it doesn’t work per-preset basis but only as global setting.

Read more of this post

Some news

The news are:

  1. About SlickEQ GE and WYSIWYG curve and frequency analyzer
  2. About SlickEQ and new “Funky” output saturation mode
  3. About Limiter6 and the skin
  4. About oversampled EQs
  5. About Nova67P

Now let’s go into the details.

Read more of this post

Nice video how to connect 2 EQs in Reaper and to put non-linear processing between them

This video features ReaEQ, SlickEQ, Pro-Q2 and IGVI. Video by Dan Worrall.

[youtube:http://www.youtube.com/watch?v=H-Gs-o39C5o%5D

 

A classification of digital equalizers (draft)

Okay, this is my first try to make some kind of classification of digital equalizers. It’s mostly based on some defects or features they have in their responses. These defects or features give digital equalizers their unique sound. Sometimes they sound “digital” in bad meaning of this word (i.e. “harsh”) but the other side of digital sound is clean, pristine and maybe too cold sometimes. I don’t have much time to make this classification really glossy so it’s some kind of a draft.

In my opinion there’re 7 main properties of digital equalizers, which affect their sound:

  1. Frequency response behavior near Nyquist frequency
  2. Phase response behavior near Nyquist frequency
  3. Frequency response ringing
  4. Types of Curves
  5. Time domain response
  6. Saturation
  7. Noise

Now I’m going to try to illustrate possible cases for each property by some images mostly created by VST Plugin Analyzer. All pictures were created at 44.1 kHz sample rate. Also I do not mention real plugin names used.


1. Frequency Response Behavior Near Nyquist Frequency

1-a) “Cramping”

Check this picture. There’s a typical 1 kHz peaking curve. Also I shifted this curve using copy and paste in an image editor to show how it’d look for 10 kHz.

Symmetric bell curves

Now if someone has implemented cool EQ using equations from “Cookbook formulae for audio EQ biquad filter coefficients” by Robert Bristow-Johnson (RBJ) the curve at 10 kHz could have this kind of a look:

Cramping

So you can see the right side of the bell shape is distorted. Well it sounds like high Q harsh boost. There’re ways to mathematically match Q at 10 kHz with Q at 1 kHz but the shape distortion remains and such distortion has its own “digital” sound.

Read more of this post

TDR Ultrasonic Filter (alpha version)

TDR Ultrasonic Filter

Such thing intended to reduce IMD distortions when working on high sample rates. Should I insert it in the beginning of audio processing chain or just before output limiter or after it or between each plugin? I don’t know. I don’t work with high-res. But I like to listen high-res music through it. The depth is greatly increased and mid-range becomes pristine clean. I use this plugin with George Yohng VST Wrapper for Foobar player.

This is the topic about the theory behind this plugin:
https://www.gearslutz.com/board/mastering-forum/968641-some-thoughts-high-resolution-audio-processing.html

And these are download links (32/64-bit, VST, AU, AAX):
[Win (installer)]   [Win (no installer)]   [Mac bundle]

(they’re also specified in post #173: https://www.gearslutz.com/board/10641174-post173.html)

The most impressive commit is from Niklas (post #203):

I experimented with the Ultrasonic filter on a just-for-fun master at 96kHz. I had about 10 plugins in a chain (all producing harmonic distortion of various degrees, mainly Acustica Audio Aqua and Nebula instances) and smashed into Voxengo Elephant ridiculously hot (limiting up to 8dB at best). I inserted Ultrasonic filter first in the chain and then after (and thus before) each and every plugin, including after elephant (so actually after the limiting.. just before final dither). The difference is ASTONISHING!! It is so ridiculously obvious and much better with the filters than without. A truly mind-blowing “WTF???!!” experience for me. It basically removed a lot of problems I’ve identified in mixes and previous masters that had heavy processing with a lot of harmonics.. mainly that nasty build up of “ringing” around 2.3 to 4kHz area. It also cleared out the congested mids and lower mids.

This is a game changer for me. I will not do any more high resolution mastering without this filtering. Period. Heck, I will never mix at high resolution again without this plugin inserted all over the place.

 

Mixing Vocals with SlickEQ video by Jerry Mateo

In this video I am showing how you can use SlickEQ to help you identify and remove problem frequencies as well as help train your ear.

Watch in 1080p!

[youtube:http://www.youtube.com/watch?v=vGYPWeY0ze8%5D

 

Nova-67P v1.0.3 update including new skin by Lesha

Nova-67p v.1.0.3:

  1. Added compressor bypass parameter
  2. Default preset now has stereo mode setting
  3. Fixed a couple of possible crashes due to race condition bugs
  4. New skin by Lesha

Nova67P v1.0.3 with skin by Lesha

Get updated version from <Nova-67P page>

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BUG REPORT BUG REPORT. In v1.0.3 auto-gain indication (horizontal black line) doesn’t work. I’ll fix it.