TDR VOS SlickEQ and SlickEQ GE have been updated to version 1.1.0

Binaries/installers for SlickEQ standard can be downloaded from here:
http://www.tokyodawn.net/tdr-vos-slickeq/

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.

SlickEQ_German

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

tips&tricks with SlickEQ

SlickEQrouting

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?

 

 

out now: SlickEQ “Gentleman’s Edition”

SlickEQ_German

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/

Related

TDR VOS SlickEQ – video review

Read the whole story at modernmixing.com.

 

SlickEQ – some more release info

Just a couple of days ago we introduced the upcoming release of SlickEQ and lots of questions raised already. So, here is what Fabien already committed about it in a public forum:

  • Win/Mac, AU/VST2/VST3 (+AAX planned and in process), x32/x64
  • No linux builds planned, sorry.
  • The name is “TDR VOS Slick EQ” and it will be available for free.
  • Release is a matter of days. Maybe a week or two.

As of today I just want to add: With the introduction of TDR VOS SlickEQ, quite a number of amazing and previously unheard DSP algorithms will see the light of day – including (but not limited to) several Stateful Saturation algorithms running within an audio signal path entirely upsampled to a constant high sample rate for maximum precision.

Expect smoothness, best-in-class.

Related links:

compressor aficionados (6) – Christopher Dion

Christopher Dion

Chris, you are the man behind the Canada-based Quantum-Music studio. What was your journey towards this venture?

My father (Alain Dion) was an internationally renown live sound engineer and technical producer (Nat King Cole, Sting, Celine Dion, Cirque du Soleil, and many locally-famous artists). Therefore, I grew up in an environment where high fidelity audio was the standard. My father hated everything that sounded less than perfect. Unconsciously, he trained my ears. I owe him a lot for that. Nowadays, every time we see each other, we spend much of our time talking about which compressors, consoles and techniques. [Read more…]

tips & tricks with ThrillseekerVBL

The Sweet Spot

The plug-in includes a preset called “LA Sweet-Spot” and one can safely use this setting on almost everything just to add a little more mojo. Just drive the unit with a proper “IN GAIN” amount so that the overall compression and distortion fits to the source.

Increased Stereo Imaging

If ThrillseekerVBL is used on stereo program material, I would recommend to use the TRAFO option to have the most prominent stereo imaging effects. Also, if there is just a little gain reduction amount applied, I would prefer the “DUAL M” option opposed to “STEREO” linking. And I would always use the “DUAL M” option on sources like vocal groups, panned rhythm guitars and stuff.

VBL as a Mastering EQ

One common mastering trick to open up a rather flat/dull track is to dial in a slight but broad 5kHz boost with an analog tube equalizer. Due to the tube circuit also higher order harmonics are generated and the whole stereo image opens up.

This can be replicated perfectly with ThrillseekerVBL: Move the “BRILLIANCE” screw to its top most position and set the “AMP” knob to 0.68. If distortion is too much now, just back it off by dialing in some compression and/or lowering the input gain.

If the EQ effect amount is too much, simply use the “DRY:WET” option. Also make sure that the trafo is in and prepare yourself for pure awesomeness.

Some Shorties

  • Avoid pumping: Dial in some more “EMPHASIS”.
  • More HF focus: Turn the “BIAS” screw clock-wise.
  • Upward compression style: Dial in some dry signal amounts (just a little).

compressor aficionados (5) – Dave Hill

Dave, some of your Cranesong devices are already legend – how did that affair once started?

Before I started Crane Song I had been designing the Summit Audio Gear through and including the DCL-200, plus some gear that did not get finished. I was teaching electronics at a 2 year technology school at the start of the Summit thing and also was part owner of a small studio that had a 1” 8 track, and Ampex MM1000. The studio grew into what is Inland Sea Recording owned by me, which is a for commercial room with a lot of nice microphones and other gear.  It now serves as a design environment and has a number of customers that help keep it going.  Developing in a real studio environment helps make sure that what you are working on works correctly and sounds good.  When doing a session if one needs to mess with the gear it questions the design, but if you can turn a knob and it makes some thing sound good, it tells you something about the design. [Read more…]

what next?

OMFG

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