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The dynamic equaliser can be a secret weapon for fixing faults at the mixing or even the mastering stage, and Brainworx' innovative plug‑in implementation offers novel M/S features.
Dynamic equalisers are extremely useful processors, yet they seem to get less than their fair share of attention. Like compressors or expanders, they operate on a threshold system, so that the desired EQ cut or boost curve, as set by the user, comes into play only when the signal exceeds a threshold. This type of processing can be used to de‑pop, de‑ess, boost weedy kick drums, suppress vocal harshness when singing loudly, and so on, but the stereo version of the BX_dynEQ model from Brainworx also has mastering applications, made more powerful by its M/S capabilities. Like most of Brainworx' plug‑ins, it can split a stereo signal into its sum and difference (also known as Mid and Side) components and process these separately, before recombining them. This allows the centre‑panned elements of a typical mix, such as vocals, bass guitar and kick drum, to be processed in a different way from sounds panned left or right. BX_dynEQ is available in the common Mac and PC native formats (AU, VST and RTAS) as well as TDM, and is sold separately and as part of the comprehensive BX bundle.
I'm M/S Dynamite‑EQ..
BX_dynEQ can not only filter the middle and the sides signals of a stereo mix individually, but it can also 'cross‑feed' the trigger signal from the mid source to the sides processor and vice versa if required. The example given of an application for this option is that the dynamic EQ of the sides signal could, in theory, be triggered by the kick-drum frequencies in the mid signal. This is possible because the trigger signal can be treated via a tuneable, variable‑width band‑pass filter to make the processing most responsive within a specific frequency range. Where the trigger and processing filters need to be set to the same value, there's a Link switch that causes both values to 'track'. Other parameters within the middle and sides processing sections can be linked where appropriate. Both the 'M' and 'S' sections have separate Attack and Release controls to determine how quickly the EQ change comes in and out once the signal passes the threshold.
A further addition to the control set is the so‑called Factor process, which appears to adjust the effective 'ratio' of the dynamic processing, just as a compressor ratio control determines how the gain control comes in once the signal rises above the threshold. The higher the Factor setting, the more assertively the EQ boost or cut comes in once the signal has crossed the threshold. The EQ curve can be set to cut or boost signals that exceed the threshold; the former would be used in typical applications such as de‑essing or de‑popping. Solo and Mute buttons for the Mid and Sides signals make it more obvious what the processor is doing, and there's a wide selection of useful EQ shapes in addition to the standard, variable‑width bell curve. On offer are low and high shelving filters, peak bands, band‑pass filters, high‑pass, low‑pass, bass‑shift and presence‑shift. The shift EQs have both boost and cut at different frequencies and their width may be adjusted. In all cases, the user can set the maximum amount of cut or boost to be applied via an intuitive graphic display that shows the real‑time EQ curve and the cut or boost limits. There are also conventional output level meters and controls for adjusting input and output levels.
To simplify operation, there are four preset modes, labelled DynEQ, Compressor, De‑Esser and Boom, the last of which is also available as a very simple stand‑alone plug‑in with just two controls. DynEQ is the normal dynamic EQ mode I've already described, Compressor uses a flat EQ setting to function as a standard compressor, and the De‑Esser preset applies EQ cut to sibilant frequencies, with fast attack and release times. Boom is only available in the stereo version of the plug‑in, and is optimised for bringing out low‑end punch in kick drums, either individually or within a stereo mix.
In Use
The mono version of the BX_dynEQ plug‑in shows up as a virtual front-panel with a graphical display to the right. In stereo mode, a second panel appears below the first, housing a similar set of controls and display for handling the 'sides' part of the M/S equation.
As a basic dynamic equaliser, the BX_dynEQ is as easy to use and as good‑sounding as any I've tried, and the graphical display gives a good insight into which frequencies are being cut or boosted and when. Using it in its M/S mode requires some understanding of what M/S recording is all about, if you are to get the best out of it, and in all modes you have to keep your wits about you, as there are more variables that affect the end result than in a standard equaliser or a standard compressor. Perseverance does pay off, though, and the benefits soon become apparent.
Conventional EQ processes all sounds at all levels, but using a dynamic EQ you can apply EQ only when the signal within a certain frequency range exceeds a certain loudness, as set by your threshold and trigger filter settings. This lets you add punch without mud, or crispiness to a snare drum in an overhead mic track without also boosting all the cymbal hits that come between. If you have a singer whose voice gets very harsh when they start to belt it out, you can use a dynamic EQ to take the edge off, while leaving lower‑level sounds untreated. In fact, the more you think about it, the more applications you come up with. The only function that seems to be missing, to me, is an Under/Over button to reverse the dynamic principle, so that the processing is applied for signal levels below the threshold rather than above it.
For mastering, the ability to adjust the mid and side signals separately is enormously powerful, as you can change the way the side signals behave without having any effect on the lead vocal, or vice versa. You can also change the apparent stereo width by adjusting the balance of mid and side signals.
BX_dynEQ is a great tool for the job, but be prepared to spend a little while getting to know it, especially if you are unfamiliar with dynamic EQ or M/S processing.
Alternatives
There are several dynamic equalisers around, if that's all you need, including the one for TC's PowerCore platform, but BX_dynEQ is the first I've tried that includes both M/S processing and separate trigger filtering.
Booming Marvellous
The stand‑alone Boom plug‑in is only available in a stereo version, and is the exact opposite of BX_dynEQ in terms of complexity, as there are only two controls. A kick‑drum graphic turns out to be an Amount knob for boosting or attenuating the effect, and a kick‑drum pedal is a three‑way switch for selecting the frequency range for processing (32, 48 or 64 Hz). The knob also seems to be linked to the processing threshold. Apparently, the low boost is applied only for around 50ms per hit, so the sound never gets messy. The bass‑drum knob flashes when an over‑the‑threshold hit is detected: avoid having it lit all the time or the dynamic effect will be lost.
I used Boom to rescue a badly recorded kick drum with no real weight to it, and it did a great job. Simple though it seems, Boom includes the M/S capabilities of the full BX_dynEQ, so that kick drums can be equalised (both positively and negatively) within a stereo mix without upsetting the side signals, hence the reason the plug‑in is stereo. Personally, I'd have liked a separate threshold and amount control, rather than having them apparently combined, and perhaps a mono version without the M/S processing, but Boom is a great way to get results without having to think too hard, offering a powerful 'instant' solution hiding behind a trivially simple user interface.
Pros
- BX_dynEQ is extremely flexible for track processing or mastering.
- Good‑sounding EQ algorithms.
- M/S capabilities make it possible to treat mid and side sounds separately.
- Boom is simplicity to operate but still produces excellent results.
Cons
- BX_dynEQ may be daunting for those inexperienced with M/S and dynamic‑EQ type processing. Boom, though, is a real no‑brainer!
Summary
These are extremely well thought‑out plug‑ins that offer great flexibility and excellent audio quality. Though seemingly quite complex, BX_dynEQ has probably been made as simple as possible, given the different processes going on under the hood, and for quick‑fix kick‑drum processing, Boom is as directly effective as Baldrick's war poem of the same name!
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Brainworx - bx_solo (VST2.VST3.AU.AAX.Venue 32bit Win.MacOS x32/x64) v1.7
- Details
- Category: VST Effects
- Published: Monday, 08 August 2016 22:50
Brainworx created bx_solo to introduce users to the M/S technique for recording, mixing, or mastering. Key features of Brainworx´s famous M/S & Mastering products are included, like their unique Solo Buttons, which allow you to individually listen to all components of a stereo mix or stereo signal.
Comprehensive solo features include; L (Left channel), R (Right channel), M (Mono sum, mid signal) and S (Stereo-Difference, side signal). This gives users the ability to listen to each component of a stereo mix when working in M/S modes, something modern DAWs often make difficult. bx_solo is also a powerful tool for checking your tracks or mixes for errors, noises, clicks and other problems.
features
- L (Left channel) solo
- R (Right channel) solo
- M (Mono sum, mid signal) solo
- S(Stereo-Difference, side signal) solo
- Stereo Width Control
- Fully automatable
- 'Mouse Over' feature: adjust the parameters by holding the mouse over any knob and simply turn your mouse wheel.
- Direct access: just type in any valid number into the text fields for direct access to the exact value
Supported Plugin Formats: AAX Native, AU, AAX AudioSuite, Venue 32-bit, VST2, VST3
Supported Operating Systems:
Mac OS X 10.6 through 10.11
Windows 7 through 10
Pro Tools 10 or higher or any VST/VST3/AU-compatible host running on a supported operating system
Mac OS X 10.6 through 10.11
Windows 7 through 10
Pro Tools 10 or higher or any VST/VST3/AU-compatible host running on a supported operating system
Mac
Intel CPU only (minimum 2 GHz recommended)
Intel CPU only (minimum 2 GHz recommended)
PC
Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; minimum 2 GHz recommended)
Intel-compatible CPU with SSE2 instruction set (Pentium 4 compatible or higher; minimum 2 GHz recommended)
System Requirements
Display resolution: 1440 × 900px or 1280 × 960px or higher
Memory: 2 GB RAM
Display resolution: 1440 × 900px or 1280 × 960px or higher
Memory: 2 GB RAM
[ ] | 45846 kB |
[ ] | 7937 kB |
[ ] | 20889 kB |
[ ] | 19684 kB |
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BrainWorx Dynamic EQ Plug-ins
The Dynamic EQ bundle comprises two effects: Boom! and BX Dynamic EQ.
Both plug-ins are dynamic EQs but come in very different forms. BX Dynamic EQ is the fully-featured design with a multitude of parameters and 'starting-point' presets for dynamic EQ, de-essing, compressing and kick drum processing.
Boom! on the other hand is a cutdown, two parameter version of its sibling aimed solely at boosting or cutting kick drum punch. In keeping with the M/S (Mid/Side) concepts it's already developed, it shouldn't surprise you to hear that BX Dynamic EQ also incorporates an M/S mode.
In detail
So what differentiates the BX Dynamic EQ from its simpler sibling? On the face of it, loads of controls, but if you keep in mind the basic concepts of dynamic EQ (think of a de-esser), then the interface is less daunting.
The central panel is divided into three sections dealing with dynamics, filter type and effect level. The dynamics section - threshold, attack and release - deals with the point at which processing starts and how that occurs (the attack and release).
The Level section to the right lets you choose either cut or boost and select a maximum processing limit (0dB to 12dB). There's also a factor parameter, which you can think of as a bit like a compressor ratio (values range from 1 to 11).
So these are the basic settings, but the real action goes on in the Filter section. First up, you'll notice it has two sections (Filter and Key) providing independent control over trigger frequencies (Key) and the frequencies they act on (Filter).
Beyond this, there's also control over filter type (24 in total) including peak, band-pass, low- and high-pass filters and shelving.
In many situations you'll want Key and Filter settings to be the same, and you can link frequency, type or both to achieve this quickly. Even so, the option to select them individually is enormously flexible.
So far, so good - but there's yet another layer to BX Dynamic EQ concerning M/S processing. Among the master settings to the left you can choose between stereo and M/S mode.
In stereo mode you get one set of controls to process left and right signals equally. However, switch over to M/S mode and the plug-in doubles in size, providing individual controls for the mid and sides.
Finally, you'll note that whichever mode you use, there's also an overall Width control (mono to 400%) indicating the underlying M/S roots of the plug-in.
BX Dynamic EQ includes four 'starting point' presets (dynEQ, compressor, de-esser and boom!). For example, the de-esser setting has a high key frequency (12kHz) with a sharp peak, but applies a softer peak at a lower frequency (7kHz) to the signal. The level control is set to cut with a factor of 11, but with max gain of 6dB.
If this all seems a bit confusing, the graphic display to the right puts it into context. Here the key filter is blue, the limits are yellow and the actual reduction is shown dynamically in red.
In use
So how do you go about using a processor like this? Obviously, you need the right candidate (a sibilant or harsh vocal say) that needs momentary EQ change. But most importantly you need to be able to monitor your key and effected signal.
With individual solo options for key and filter, BX Dynamic EQ works excellently in this respect. Soloing the key enables you to sweep through frequencies, finding your spot easily. But it's the filter solo that's most enlightening as you can hear just the effected part of the signal.
So, tweaking the parameters (threshold, attack, release, gain and factor) you hear what you're doing before switching back and hearing the full effected signal.
Finally, there's also the matter of the M/S processing. This adds another layer of complexity, but once you get used to the M/S concept, it's quite straightforward.
We processed a stereo drum kit room mic, dynamically boosting the body of the snare in mono and dynamically cutting its higher 'crack' frequencies in the stereo aspect. This produced a much more solid blend from a regular stereo room blend.
Turning briefly to the Boom! plug-in, with only three fixed frequencies (32, 48 and 64Hz) there's not much room for manoeuvre. Even so, it gives instant results on kick drums, and it's nice to be able to cut very low frequencies.
Summary
BX Dynamic EQ is a serious and complex plug-in, and Boom! seems to have been included as a bit of light relief. Even so, if you understand why you need this sort of plug-in, then you won't be confused by how it works.
Once again, BrainWorx has delivered an individual but brilliantly thought out plug-in that provides powerful processing in a deceptively simple manner.