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Plug in EQ's for mastering Equalizer Plugins
Old 2nd July 2012
  #91
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Red Mastering's Avatar
 

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Quote:
Originally Posted by Filthrill View Post
Hey real quick, has anyone actually used PSP Vintage Warmer 2 in mastering? I know it's a great plugin but can anyone actually say they use it in mastering & is it part of your regular chain or just on an as-needed basis?
VWarmer is not intended to be used in mastering,
or if - then with wet/dry option mix,
as if you put it as insert, you got bit 'too much' as for mastering imho,
15-25% wet to dry - sometimes sounds good
if you need that gritt
Old 2nd July 2012
  #92
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Originally Posted by acorneau View Post
That's one of the biggest problems with plug-in based processing: you can't close your eyes and turn the knobs until it sounds right. You HAVE to keep your eyes on the screen to know if you're actually adjusting the parameter you want to adjust!
I've been a Novation Nocturn user since it came out, the Automap software (I think it's the second update of the software, not the newest version that was drastically changed) works great. You can adjust the sensitivity of the pots as much as you like, so it can be made to "feel" different, and I've been making sonic judgements with eyes closed since then. I often use a plug-in's GUI only to call it up and then close it to give the Nocturn a quick glance while working.

Only complaint I've got is the cheap build quality of the controller and the lack of a few developers to include MIDI mapping in their plugs. Between the Nocturn and my HUI interfaces, I'm set and haven't used a mouse in years. They've got the right idea with the Nocturn, hopefully Novation takes it a bit more seriously and upgrades the build quality. The cheap knobs get uncomfortable after a while, but man, it's great to have all the controls for all your effects in one little box with a few pots, buttons and a slider.
Old 3rd July 2012
  #93
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teebaum's Avatar
Quote:
Originally Posted by Filthrill View Post
Hey real quick, has anyone actually used PSP Vintage Warmer 2 in mastering? I know it's a great plugin but can anyone actually say they use it in mastering & is it part of your regular chain or just on an as-needed basis?
i used vw mabye 5 years ago in mastering a view times, but its not transparent enough
Old 3rd July 2012
  #94
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Filthrill's Avatar
 

Thanks for the confirmations on Vintage Warmer. I felt the same way. Shoot, even at just a few % on the dry/wet dial I felt it was way to strong for mastering. Now using it in a mix is completely different story.
Old 3rd July 2012
  #95
This is a difficult one for me as I really like Brainworx Digital EQ. They have a deal on now, buy 2 get one free and I want more than three of their plugins and Digital EQ is one of them. But if they all null and you can basically do the same thing with most EQ's what should I do?

I have Sonalksis and a few free EQs. Voxengo has free EQs that allow m/s equing.

I wonder if I should leave it out and go for something else.

On the other hand, is it fine to pay such money for convenience as I don't ever EQ the way digital eq's for example. I don't know curves well enough.

It definitely sounds great to me and I work really fast with it. I don't seem to get the same results with other things.
Old 3rd July 2012
  #96
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John Moran's Avatar
 

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Originally Posted by UnderTow View Post
Pro Tools + ICON does exactly that.

Alistair
an ICON in a mastering suite, how novel...
Old 3rd July 2012
  #97
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Quote:
Originally Posted by John Moran View Post
an ICON in a mastering suite, how novel...
I was talking in general terms. It was basically in response to the following line:

Quote:
all the plug-in designers standardize on GUI parameter placement (not likely)
Point being, Such a standard already exists. As the RTAS and AAX have a standard that works on an ICON or EuCon controller, it shouldn't be too hard to create a smaller controller that makes use of those standards. A pity it is proprietary and Avid don't seem to see the benefit of opening their standard. To me it seems like bad business but that is a different topic.

Anyway, it would be nice if there was a smaller controller than the ICON series that did this... oh wait! The Avid Artist series does exactly this.

Alistair who reminds himself of the need to fully pre-chew ideas before serving them up on Gearslutz.
Old 3rd July 2012
  #98
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Quote:
Originally Posted by Aiyn Zahav View Post
It definitely sounds great to me and I work really fast with it. I don't seem to get the same results with other things.
That sounds like your answer right there. Whether it can be 'matched' with another EQ is really besides the point. If you can work really quickly with it and are impressed with the results, it sounds like a winner.
Old 3rd July 2012
  #99
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As far as tactile plugin EQ use goes, I've got my MD3 eq hooked up via a cheap Korg midi-controller using energy-xt as a wrapper. Seems to be working really well and I'm getting results much quicker this way.
Old 3rd July 2012
  #100
Quote:
Originally Posted by huejahfink View Post
That sounds like your answer right there. Whether it can be 'matched' with another EQ is really besides the point. If you can work really quickly with it and are impressed with the results, it sounds like a winner.
True and I was thinking that. Still I am hesitant. I am going to start a thread so experience BX Digital users can chime in.

Thanks
Old 5th July 2012
  #101
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audiomastermind's Avatar
 

Quote:
Originally Posted by TanTan View Post
Hey there,

I'd love to hear your opinions regarding mastering EQ plugins, is there anything that reaches the Weiss EQ quality ?

I'm interested in the Flux, Sonoris, Algorithmics and Fabfilter (which i already have) have you got the chance to A/B them ?

Best
Tan

Yes TanTan, only 2 (two): Algorythmix Orange and Red

Cheers
Philip




http://www.littlemajormastering.info
Old 17th July 2012
  #102
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Filthrill's Avatar
 

Question for my mastering comrades:

I'm curious to know how many times u end up with compression after EQ on a given song. I'm just talking compressor(s) & EQ(s) here not De-essers, limiters, analyzers, or anything else. So just to be clear, I'm referring to u having a compressor inserted w/ no EQ further down the chain. As opposed to having an EQ w/ no compressor further down the chain. Apologies if being redundant..

As always much appreciated,

Fil
Old 18th July 2012
  #103
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Shawn Hatfield's Avatar
Quote:
Originally Posted by Filthrill View Post
Question for my mastering comrades:

I'm curious to know how many times u end up with compression after EQ on a given song. I'm just talking compressor(s) & EQ(s) here not De-essers, limiters, analyzers, or anything else. So just to be clear, I'm referring to u having a compressor inserted w/ no EQ further down the chain. As opposed to having an EQ w/ no compressor further down the chain. Apologies if being redundant..

As always much appreciated,

Fil
I'm not getting to use my compressors much these days. So much music comes in already compressed. But when I do get something that can benefit from compression, 9 out of 10 times, I have an EQ before it.
Old 18th July 2012
  #104
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Filthrill's Avatar
 

Quote:
Originally Posted by Twerk View Post
I'm not getting to use my compressors much these days. So much music comes in already compressed. But when I do get something that can benefit from compression, 9 out of 10 times, I have an EQ before it.
Twerk, thanks for ur response. Great looking studio I might add.

Okay. I've always been intrigued by the order of comp/EQ. I notice that whenever a compressor is last for me the result product is a lil dull. Plus to me, a compressor w/ final limiter after it is whole lot of compression at end of chain & probably why it's the other way for me. Actually for me it's EQ followed by Deesser & then limiter. Interesting tho.
Old 18th July 2012
  #105
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Arksun's Avatar
Quote:
Originally Posted by audiomastermind View Post
Yes TanTan, only 2 (two): Algorythmix Orange and Red

Cheers
Philip




Information about Little Major Audio Mastering
Make that three. PlPar EQ, still the best linear phase plugin eq there is imho.
Old 18th July 2012
  #106
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The MeldaProductions EQs - the whole mastering bundle is for sale (40% off) right now:
MeldaProduction Mastering bundle of MeldaProduction effect plug-ins
Old 18th July 2012
  #107
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Shawn Hatfield's Avatar
Quote:
Originally Posted by Filthrill View Post
Twerk, thanks for ur response. Great looking studio I might add.

Okay. I've always been intrigued by the order of comp/EQ. I notice that whenever a compressor is last for me the result product is a lil dull. Plus to me, a compressor w/ final limiter after it is whole lot of compression at end of chain & probably why it's the other way for me. Actually for me it's EQ followed by Deesser & then limiter. Interesting tho.
Lots of people will use something like the Bax EQ after compression to add a touch of air or lows. But for surgical EQ and overall mix shaping, you'll often find EQ before compression does a better job. This allows you to balance the mix so that the compressor isn't reacting to some excessive energy. The more balanced a mix that goes into the compressor, the easier time the compressor has at doing its job.

But there's no hard rule, and the best approach is to try both.

Also, it's usually best to put your de-esser first in the chain so that you can control sibilance or hf early on before it makes its way into any of the other processing. This also makes it so that any changes you make down the line, don't affect the settings on the de-esser.
Old 18th July 2012
  #108
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Hermetech Mastering's Avatar
 

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Me too: Usually surgical EQ/De-Essing digitally on the source file, out the DAC, into analogue compressors, then Pullet EQ, then Bax EQ, then ADC, then digital brick wall limiting and dither.
Old 18th July 2012
  #109
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Filthrill's Avatar
 

Quote:
Originally Posted by Twerk View Post
Lots of people will use something like the Bax EQ after compression to add a touch of air or lows. But for surgical EQ and overall mix shaping, you'll often find EQ before compression does a better job. This allows you to balance the mix so that the compressor isn't reacting to some excessive energy. The more balanced a mix that goes into the compressor, the easier time the compressor has at doing its job.

But there's no hard rule, and the best approach is to try both.

Also, it's usually best to put your de-esser first in the chain so that you can control sibilance or hf early on before it makes its way into any of the other processing. This also makes it so that any changes you make down the line, don't affect the settings on the de-esser.
So the mix shaping ur referring to is some good analog EQ I assume. Is the compressor's color something to consider? It's not too colored for something at end of chain? I guess that's what the BaxEQ would solve, right? It seems like some people are EQ-heavy at end (like our friend's post above) & some have mostly compression at end. The chain I use has a second compressor somewhere in the middle. The first one is right away. Something that I picked up from a well-known ME in town but surely not the only way.
Old 18th July 2012
  #110
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Shawn Hatfield's Avatar
Quote:
Originally Posted by Filthrill View Post
So the mix shaping ur referring to is some good analog EQ I assume. Is the compressor's color something to consider? It's not too colored for something at end of chain? I guess that's what the BaxEQ would solve, right? It seems like some people are EQ-heavy at end (like our friend's post above) & some have mostly compression at end. The chain I use has a second compressor somewhere in the middle. The first one is right away. Something that I picked up from a well-known ME in town but surely not the only way.
It doesn't need to be an analog EQ. It could be something like FabFilter Pro-Q. The compressors character should always be considered and each song will dictate whether or not any particular plug-in or piece of gear will work, regardless of where it is in the chain.
Old 19th July 2012
  #111
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Filthrill's Avatar
 

Quote:
Originally Posted by Twerk View Post
It doesn't need to be an analog EQ. It could be something like FabFilter Pro-Q. The compressors character should always be considered and each song will dictate whether or not any particular plug-in or piece of gear will work, regardless of where it is in the chain.
Fair enough
Old 19th July 2012
  #112
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Filthrill's Avatar
 

Don't mean to make this thread go on forever but I'd like to ask this.

What percentage of songs u master would u mastering guys say need "corrective EQ". All or just some? Are there times when no corrective EQ is needed?
Old 19th July 2012
  #113
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Hermetech Mastering's Avatar
 

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Every project is completely different, some will need a lot of corrective EQ, some very little, and some none at all. Would hate to have to put a percentage on it. It generally depends on the skill, experience, monitors and room of the mix engineer. The best stuff that comes in requires extremely little, if anything. If they are great mixes I might not need to do anything except level and arrange the album, and author the DDP. Hate to say it, but "it all depends".
Old 19th July 2012
  #114
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Slug1's Avatar
Quote:
Originally Posted by Twerk View Post
Lots of people will use something like the Bax EQ after compression to add a touch of air or lows. But for surgical EQ and overall mix shaping, you'll often find EQ before compression does a better job. This allows you to balance the mix so that the compressor isn't reacting to some excessive energy. The more balanced a mix that goes into the compressor, the easier time the compressor has at doing its job.

But there's no hard rule, and the best approach is to try both.

Also, it's usually best to put your de-esser first in the chain so that you can control sibilance or hf early on before it makes its way into any of the other processing. This also makes it so that any changes you make down the line, don't affect the settings on the de-esser.


That's my new set up. Oxford Suppressor on my playback deck feeding a DAC, then Massive Passive Mastering, Vari Mu, Bax. De-ess if needed, then specific bell cuts or boosts with MP, compression if any and many times just gain staging with VM, and balancing and sweetening with Bax.

But like you said, no hard rules. Love the transfer boxes with the flip switches to let you flip between Dyn pre or post EQ to see what works best on given material. That's my next investment.
Old 20th July 2012
  #115
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Shawn Hatfield's Avatar
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Originally Posted by Slug1 View Post
Love the transfer boxes with the flip switches to let you flip between Dyn pre or post EQ to see what works best on given material. That's my next investment.
Liaison ftw.
Old 20th July 2012
  #116
The Sonoris Mastering EQ is amazing.

You can switch any band into m or s or l or r or LR

It also sounds stunning.

It does have an issue in RTAS (as I use Pro Tools)in that it does not respond well if at all to snapshot (option, Command, /) automation. I must email them about that and see what the score is.

Top end is amazing for a digital EQ.

I'm still a huge fan of the Massenberg Design Labs Digital EQ I think the very low end on that one is great. They are porting it to AAX DSP which is great news for me.

I use both it and the Sonoris.

I still also use the Sonnox EQ in GML mode from time to time as sometimes those other 2 are a bit too clean, but something not dirty but a bit more "noticeable" is cool. Sonnox fits that bill for me. They've already ported that to AAX DSP so that's another bonus if you're a HDX user.

I don't need flavour Plug Ins as I do a lot of analogue EQ in my workflow and that gives me that, but UAD Massive Passive is pretty good, I was actually surprised in a very good way how it compared to my real one.

These are very Pro Tools centric choices but I do my processing in Tools and then assembly in Soundblade.

It's a shame the MDW isn't available in AU and VST as it's a great EQ and everyone should have access to it. The other 2 are though.

Just like analogue EQs different digital EQs have their strengths and weaknesses and if I didn't have the outboard I'd definitely add in a few "flavour emulations" like UAD, Waves, Softube etc. to that list.
Old 20th July 2012
  #117
Quote:
Originally Posted by Filthrill View Post
Don't mean to make this thread go on forever but I'd like to ask this.

What percentage of songs u master would u mastering guys say need "corrective EQ". All or just some? Are there times when no corrective EQ is needed?
There are definitely times where I wouldn't call my EQ corrective but it's more enhancement.i.e. the mix is great I'm just trying to make it even better. I also believe that some times its so well done you can make it worse if you just EQ it because you feel you should be doing "something". I don't think you should do EQ to just justify your existence in the production process.

I think most the time a tiny nudge here or there will bring out the best in an already mix though, but I mean tiny amounts.
Old 21st July 2012
  #118
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It's so crazy how much heavy firepower w/ all the expensive outboard gear some of us mastering guys have to have in order to "do very little" to a mix. I would say whether we like it or not all of us try very hard to tweak a lot of things that don't need tweaked. Things that shouldn't be touched & noone can tell us any different. A lot of times u don't know until u dig into it & start playing around looking for some possible magic that gets brought out by one or two particular adjustments.
Old 23rd July 2012
  #119
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Filthrill's Avatar
 

Okay so I've been in research mode regarding mastering for a few weeks now studying different setups, methods, & just looking for any way to possibly improve the way I work with what I use.

That being said (I hate that phrase):

has anyone here ever used an API 550 (A or B), API 560 or a Pultec style EQ in any of your mastering projects? Analog or digital. If so, what was the reason u used these since they're kind of unconventional EQs for mastering? Was it a certain type of song that lacked something like vibe, tone, or whatever?
Old 23rd July 2012
  #120
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Strut78's Avatar
Quote:
Originally Posted by Filthrill View Post
Okay so I've been in research mode regarding mastering for a few weeks now studying different setups, methods, & just looking for any way to possibly improve the way I work with what I use.

That being said (I hate that phrase):

has anyone here ever used an API 550 (A or B), API 560 or a Pultec style EQ in any of your mastering projects? Analog or digital. If so, what was the reason u used these since they're kind of unconventional EQs for mastering? Was it a certain type of song that lacked something like vibe, tone, or whatever?
You will find the API 550b and the newer 5500 used a lot in mastering. The 5500 is very close to 550b but with the range control selection. I use the 5500 almost everyday, the lows and low mids are great and it has it's own vibe going on. I would consider it a great second eq, but would not want it to be my only eq.

Pultecs pop up from time to time in the odd mastering rig, but may not be as flexible as many of the other eqs you see a lot in mastering studios. I don't use one in mastering, but from my experience using them in recording studios, they can be amazing when they work but are not for everything. If you are looking at pultecs, maybe have a look at the Massive Passive.

Edit: oops just realized that the thread is looking at plug in eqs and not hardware. The API 550b plug in is cool in mixing but I haven't used it in mastering and I have never felt the need to use a pultec style plugin in the mastering chain. Sorry of the confusion.
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