Here is my go-to mastering preset for Kotelnikov GE. Just change the threshold and you are there.
<TDRKotelnikovGE thresholdParam=”-24.0″ peakCrestParam=”-3.0″ softKneeParam=”6.0″ ratioParam=”3.0″ attackParam=”6.0″ releasePeakParam=”20″ releaseRMSParam=”300″ makeUpParam=”0.0″ dryMixParam=”off” outGainParam=”0.0″ keyHPFrequencyParam=”60″ keyHPSlopeParam=”6.0″ keyStereoDiffParam=”80″ keyStereoBalanceParam=”Center” fdrVisibleParam=”On” fdrActiveParam=”On” fdrTypeParam=”Shelf A” fdrFrequencyParam=”50″ fdrAmountParam=”80″ yingParam=”On” yangParam=”Off” deltaParam=”Off” bypassParam=”Off” equalLoudParam=”Off” qualityParam=”Insane” modeParam=”Stereo” grDispScaleParam=”4″ grDispModeParam=”Gain Reduction”/>
A must read for EQ aficionados :-)
Thanks Vlad for sharing!
Originally posted on vladg/sound:
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:
- Frequency response behavior near Nyquist frequency
- Phase response behavior near Nyquist frequency
- Frequency response ringing
- Types of Curves
- Time domain response
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…
View original 1,979 more words
Binaries/installers for SlickEQ standard can be downloaded from here:
The binaries for the GE edition are now available in the customer area at tokyodawn.net.
This minor update fixes several little bugs, greatly reduces general CPU consumption and even adds a new “ECO” processing mode.
1.1.0 Minor update content
- New “Eco” processing mode with almost zero latency
- Reduced overall CPU usage
- Stepped frequency/gain knobs activated by ctrl+drag or right mouse button drag
- Increased user presets slots count
- Minor UI adjustments
- Various minor improvements
Note: Some of the tips rely on features from the GE version.
Mixing against HP/LP combo
A good generic practice when EQing several tracks in a mix is too start by dialing in HP/LP combinations by an appropriate level and then do further EQing/mixing against those settings. Also using the tilt filter is a good idea to apply very first and rough tonal corrections and then working out the details afterwards with the three EQs.
Preserving low-end energy when high-pass filtering
A cool trick to preserve some low-end energy when high-pass filtering is applied is to boost the low-end while using the EQ-SAT feature. As you can see in the routing diagram the HPF comes after the main EQs and EQ-SAT. This way, harmonic overtones are generated based on the fundamentals before the HPF is applied.
Decoupling the low-end
The low-end EQ features a “Phi” option switch which allows to decouple the low-end by an allpass filter network. The crossover can be freely adjusted with the normal frequency control in this band while the gain control does not have any effect in this mode. This may work great for that mellow bass drums just as an example but in other cases it might loose some definition as a trade-off.
Compare different settings
SlickEQ contains two effect settings slots, A and B. Use them in combination with the automatic output gain control to AB test different settings. Within the plugin you can move settings between A and B but also copy&paste is there to freely copy settings between different plug-in instances. Also, undo/redo comes in handy here.
Adjusting precise values
The gain/frequency displays can also be used to enter specific values and also shortcuts are accepted, e.g. “5k” can be entered to set a value to 5000. And did you know that SlickEQ has mouse-wheel support?
Key specs and features
- Modern user interface with outstanding usability and ergonomics
- Carefully designed 64bit “delta” multi-rate structure
- Three semi-parametric filter bands, each with two shape options
- Five distinct EQ models: American, British, German, Soviet and Japanese
- Low band offers an optional phase-lag able to delay low frequencies relative to higher frequencies
- High pass filter with optional “Bump” mode
- Low pass filter with two different slopes (6dB/Oct and 12dB/Oct)
- Parametric Tilt filter with optional “V” mode.
- Six output stages: Linear, Silky, Mellow, Deep, Excited and Toasted
- Advanced saturation algorithms by VoS (“Stateful saturation”)
- Highly effective loudness compensated auto gain control
- Stereo, mono and sum/difference (mid/side) processing options
- Frequency magnitude plot
- Tool-bar with undo/redo, A/B, advanced preset management and more
SlickEQ is a collaborative project by Variety of Sound (Herbert Goldberg) and Tokyo Dawn Labs (Vladislav Goncharov and Fabien Schivre). For more details, please refer to the official product page: http://www.tokyodawn.net/tdr-vos-slickeq-ge/
This is a small maintenance update meant to prepare interoperability to the new SlickEQ “Gentleman’s Edition” to be released very soon.
1.0.2 Maintenance update
- Add preset interoperability for Standard vs Gentleman’s Edition.
- Fixed occasional “pop under” in some plugin hosts.
The TDR VOS SlickEQ version 1.0.2 is now available from the official labs page: http://www.tokyodawn.net/tdr-vos-slickeq/
Vlad, Herbert and Fabien