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Is there a plugin that... Equalizer Plugins
Old 1 week ago
  #1
Gear Nut
 
MrTinkle's Avatar
 

Is there a plugin that...

I'm after a plugin (if it actually exists) that will let me do the following:
  • Split the audio signal into 3 or 4 bands (like a multiband compressor)
  • 100% transparent cross-over points (so you can't hear where the splits are)
  • Allows you to pan each band in the stereo field.
  • Allows you to control the volume of each band.


It's not multiband compression, it's not a stereo imager or a Mid-Side EQ ...

I've tried achieving the same effect with MB compressors (not using any compression) but doesn't work. The only way I've managed to do it is by splitting the signal into 3 / 4 parts than using high-pass and low-pass filters to create the bands and pan each fader.

The reason why I want to do this is purely for experimentation. I like the idea of being able to say, keep the lows of the bass mono, then pan the mids of the bass left and the highs right (or whichever way) so it gives the illusion it's still all coming from the centre, but really you're just moving where they all sit, freeing up space for other freuencies without using any corrective EQ or dynamic processing.

I dunno.. just a weird idea.
Old 1 week ago
  #2
Lives for gear
Quote:
Originally Posted by MrTinkle View Post
I'm after a plugin (if it actually exists) that will let me do the following:
  • Split the audio signal into 3 or 4 bands (like a multiband compressor)
  • 100% transparent cross-over points (so you can't hear where the splits are)
  • Allows you to pan each band in the stereo field.
  • Allows you to control the volume of each band.


It's not multiband compression, it's not a stereo imager or a Mid-Side EQ ...

I've tried achieving the same effect with MB compressors (not using any compression) but doesn't work. The only way I've managed to do it is by splitting the signal into 3 / 4 parts than using high-pass and low-pass filters to create the bands and pan each fader.

The reason why I want to do this is purely for experimentation. I like the idea of being able to say, keep the lows of the bass mono, then pan the mids of the bass left and the highs right (or whichever way) so it gives the illusion it's still all coming from the centre, but really you're just moving where they all sit, freeing up space for other freuencies without using any corrective EQ or dynamic processing.

I dunno.. just a weird idea.
You might look at blue cat's MB7 - it can split bands and has a stereo spread / pan on each band. Never tried to do what you are asking but it might work

https://www.bluecataudio.com/Products/Product_MB7Mixer/
Old 1 week ago
  #3
Gear Head
 

TDR SlickEQ M can also do this.

https://www.tokyodawn.net/tdr-slickeq-m/
Old 1 week ago
  #4
Lives for gear
 

What you're describing is exactly how any EQ or crossover works.
You can pull that off by copying track the tracks and setting up each track for different EQ bands.
If for example you used a Graphic EQ, used the first 4 bands on the first track, 4 more bands on the next, 4 more bands on the next, and so on, the crossover is going to be as good as it gets. All EQ's will share some frequencies between two bands because the Q is set to overlap and prevent gaps. If you use an EQ with more frequency bands, the Q becomes narrower so the overlapping is less. With a 24 band Graphic EQ with 24dB range the cuts between one track and another should be quite drastic.

I don't think this is what you're looking for however. I suspect you are trying to separate instruments in a mic and that unfortunately is going to be impossible.
Once separate tracks are combined, you aren't going to separate them back out into separate tracks. Instruments don't fit into a mic side by side like a photograph of soldiers standing in formation side by side. Bass guitar may dominate the low frequencies between 80 and 500Hz but there is still plenty of slap tones up in the 2~3K range where the guitar is strongest. Guitar will extend down into the bass ranges and up into the cymbals but to a lesser degree.

If you separate a Mix by frequencies you may get the Kick and Bass to dominate in the low band but you'll also get parts of the snare, toms, guitar and even some vocals down there, just not nearly as much. I think you already found this out when using the multiband and simply didn't expect that is the way music is mixed in a recording.

Of course you could create music where the instruments do have a fairly wide boundary between them. You'd have to use nearly pure sine waves and the recordings would sound like cheesy 80's video game music using all sine waves and no overtones. Its the overtones that extend much of the frequency ranges to overlap instruments. That's important to knw as it is actually seeing the waveforms on a Frequency analyzer.

Download a copy of Voxengo Span while you EQ the music into separate bands. It will be clear to you then whats actually going on when you can see with your eyes what your ears are actually hearing.
Old 1 week ago
  #5
Here for the gear
 

If you use Pro Tools check out the splitter plugin from the Avid Pro Dynamics collection...I believe its exactly what you are looking for.
Old 1 week ago
  #6
Lives for gear
Not sure what DAW you are using, but this can be done pretty easily, albeit with only 3 bands, in Ableton.

Audio effect rack with three chains, each with an EQ3 and the respective band soloed. Perfect crossover and works a treat for doing things like planning a Hi Hat from a drumloop without touching the low end.
Old 1 week ago
  #7
Gear Nut
 
MrTinkle's Avatar
 

Quote:
Originally Posted by wrgkmc View Post
What you're describing is exactly how any EQ or crossover works.
You can pull that off by copying track the tracks and setting up each track for different EQ bands.
If for example you used a Graphic EQ, used the first 4 bands on the first track, 4 more bands on the next, 4 more bands on the next, and so on, the crossover is going to be as good as it gets. All EQ's will share some frequencies between two bands because the Q is set to overlap and prevent gaps. If you use an EQ with more frequency bands, the Q becomes narrower so the overlapping is less. With a 24 band Graphic EQ with 24dB range the cuts between one track and another should be quite drastic.

I don't think this is what you're looking for however. I suspect you are trying to separate instruments in a mic and that unfortunately is going to be impossible.
Once separate tracks are combined, you aren't going to separate them back out into separate tracks. Instruments don't fit into a mic side by side like a photograph of soldiers standing in formation side by side. Bass guitar may dominate the low frequencies between 80 and 500Hz but there is still plenty of slap tones up in the 2~3K range where the guitar is strongest. Guitar will extend down into the bass ranges and up into the cymbals but to a lesser degree.

If you separate a Mix by frequencies you may get the Kick and Bass to dominate in the low band but you'll also get parts of the snare, toms, guitar and even some vocals down there, just not nearly as much. I think you already found this out when using the multiband and simply didn't expect that is the way music is mixed in a recording.

Of course you could create music where the instruments do have a fairly wide boundary between them. You'd have to use nearly pure sine waves and the recordings would sound like cheesy 80's video game music using all sine waves and no overtones. Its the overtones that extend much of the frequency ranges to overlap instruments. That's important to knw as it is actually seeing the waveforms on a Frequency analyzer.

Download a copy of Voxengo Span while you EQ the music into separate bands. It will be clear to you then whats actually going on when you can see with your eyes what your ears are actually hearing.

What I'm trying to do is simply split a mono instrument into 3 parts. Lows, Mids and Highs. Then using this to "spread" the instrument in the stereo field in any way I choose.

An example in practice would be:

Bass guitar is panned dead Center, has great lows and works really well with the kick. However, the high-end slap is causing issues with the vocals. A typical scenario would be to EQ the bass to carve out space for the vocals, or use some multiband compression or side-chain dynamic Eqing. But doing this might remove some of that character I liked about the bass.

So why not just split the tonality of the bass into 3 parts. Lows, Mids and Highs. Keep the lows panned dead centre, then shift the mids slightly off centre and the highs off centre to create the illusion the bass is still in the centre, however doing so frees up space for the vocal.

Maybe I'm over thinking things, but just trying to come up with some different concepts to try out. All about experimentation!
Old 1 week ago
  #8
Gear Maniac
 
Bart Nettle's Avatar
Magix Samplitude has this built into the master bus.
It is the Multiband Stereo Enhancer.
Each band can be gained and panned.
Old 6 days ago
  #9
HSi
Lives for gear
 
HSi's Avatar
 

87You don't even need to split it if you use this.



https://nugenaudio.com/stereoplacer/

Far better than just 4 splits. Boost for left, cut for right, just select the freq. All of their stuff is pretty high quality. SigMod might be of interest too, you can do what you ask, plus m/s, plus it can host plug ins, but only vst3's, even on Mac.
Old 5 days ago
  #10
Gear Maniac
 
Sybille's Avatar
 

A long time ago dave pensado presented a plugin like that in one of this "5 great plugins" series on youtube, I don't remember the name but you should be able to find it if you watch all of those videos.


EDIT: Found it, it's called DDMF Directional EQ.
Old 5 days ago
  #11
Gear Maniac
 
ericzang's Avatar
 

all meldaproduction MB (multiband) plugins have this and more. 6 bands.
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