TwoToneshuzz
01-10-2012, 07:45 AM
The SPL Passeq and other tools like it, first some background some thoughts.
I'm quite a luxury boy if you give me a chance. This leads me to go after highend tools at times but when that happens I wish that somebody else was paying the bills.
I've posted lots of examples of my sound here on Five12, to be frank most of them are lacking polish.
At a point in the production process it's time to take mix and sort out the difficult issues with dynamics, equalisation, spacial cues, localisation, ambience, timbre, real pan and artificial movement pan and so on.
All this I maintain can be done with relatively few tools:
On the Eq front I'm thinking the PasseEQ by SPL might be just the tool for the style of working I'm developing.
The Passeq or passiv eq is an emulation of a highend Eq that basically has 3 bands, but with a twist these 3 bands are serviced by four controls each a Cut with it's dedicated frequency adjust, and a Boost likewise with it's own frequency adjust this has in the acutual physical unit given a total of 74 possible frequencies to work from with the twelve Cut, Boost and frequency adjust knobs the frequencies have detents at to musically useful spots of the frequency range, it is notable that the Cut and the Boost frequencies are different from one another , this set of frequencies is chosen after much critical listening by top audio professionals. Interesting concept, a smart interface that aids the user instead of presenting him with a blank canvas..
The control panel on the interface reminds me of a neural network, or a fuzzy logic interface. Set up in a single or dual circular ray pattern with it's 6 frequency adjustment knobs and the 3 cut and 3 boost knobs plus a Q adjustment for the high frequency boost, and a large centrally placed global cut knob. These 14 knobs give access to the audible hearing range actually expands above and below it, so you can work with the high frequency air and the colouring of the low frequency in advanced modus. I sense that here are enough adjustment possiblities to do just about anything to the spectral content of the mix. No there's not a lot of graphics showing whats happening to the curve. This is a grab a knob, close your eyes and listen kind of interface and it appeals to me. Forces concentrated listening, It's more like playing a instrument than having a graphic assisted joyride. Low key visuals on interfaces can give psychological space, take the energy away from eye based info and give it over to attentive listening, an inner listening room opens up when youclose your eyes and listen perhaps hear for the first time the heartbeat of the butterfly.
By reflecting on how this is layed out I sense it can be a valuable model for understanding old school eq where the emphasis is is on cutting frequencies to create sonic space which allows for important aspects to come through.. I think this tool used carefully with good monitoring would be more than adequate to get a reasonably okay mix to gel into a great mix. An added advantage is it's setup to easily allow Mid Side processing, this can for example help keep the mid low ambience out of the sides of the stereo image allowing the ambience space in the periferi of the mix, while concentrating the bass and lead elements to the center of the soundstage.
The Passiv design of the Eq gives the impression of having a very precise and clean sonic imprint on the sound, with no phase artifacts, this inforces in a positive way the whole premise of the tool, described above which encourages the user to think of subtly cutting adjacent frequences to manage difficult issues in the frequency range, instead of boosting their frequencies directly which done clumsily often results in an opaque sonic soup. No we are a clear consumé so the tiny beautiful details can be tasted, seen or heard..
Regards
Wade
I'm quite a luxury boy if you give me a chance. This leads me to go after highend tools at times but when that happens I wish that somebody else was paying the bills.
I've posted lots of examples of my sound here on Five12, to be frank most of them are lacking polish.
At a point in the production process it's time to take mix and sort out the difficult issues with dynamics, equalisation, spacial cues, localisation, ambience, timbre, real pan and artificial movement pan and so on.
All this I maintain can be done with relatively few tools:
On the Eq front I'm thinking the PasseEQ by SPL might be just the tool for the style of working I'm developing.
The Passeq or passiv eq is an emulation of a highend Eq that basically has 3 bands, but with a twist these 3 bands are serviced by four controls each a Cut with it's dedicated frequency adjust, and a Boost likewise with it's own frequency adjust this has in the acutual physical unit given a total of 74 possible frequencies to work from with the twelve Cut, Boost and frequency adjust knobs the frequencies have detents at to musically useful spots of the frequency range, it is notable that the Cut and the Boost frequencies are different from one another , this set of frequencies is chosen after much critical listening by top audio professionals. Interesting concept, a smart interface that aids the user instead of presenting him with a blank canvas..
The control panel on the interface reminds me of a neural network, or a fuzzy logic interface. Set up in a single or dual circular ray pattern with it's 6 frequency adjustment knobs and the 3 cut and 3 boost knobs plus a Q adjustment for the high frequency boost, and a large centrally placed global cut knob. These 14 knobs give access to the audible hearing range actually expands above and below it, so you can work with the high frequency air and the colouring of the low frequency in advanced modus. I sense that here are enough adjustment possiblities to do just about anything to the spectral content of the mix. No there's not a lot of graphics showing whats happening to the curve. This is a grab a knob, close your eyes and listen kind of interface and it appeals to me. Forces concentrated listening, It's more like playing a instrument than having a graphic assisted joyride. Low key visuals on interfaces can give psychological space, take the energy away from eye based info and give it over to attentive listening, an inner listening room opens up when youclose your eyes and listen perhaps hear for the first time the heartbeat of the butterfly.
By reflecting on how this is layed out I sense it can be a valuable model for understanding old school eq where the emphasis is is on cutting frequencies to create sonic space which allows for important aspects to come through.. I think this tool used carefully with good monitoring would be more than adequate to get a reasonably okay mix to gel into a great mix. An added advantage is it's setup to easily allow Mid Side processing, this can for example help keep the mid low ambience out of the sides of the stereo image allowing the ambience space in the periferi of the mix, while concentrating the bass and lead elements to the center of the soundstage.
The Passiv design of the Eq gives the impression of having a very precise and clean sonic imprint on the sound, with no phase artifacts, this inforces in a positive way the whole premise of the tool, described above which encourages the user to think of subtly cutting adjacent frequences to manage difficult issues in the frequency range, instead of boosting their frequencies directly which done clumsily often results in an opaque sonic soup. No we are a clear consumé so the tiny beautiful details can be tasted, seen or heard..
Regards
Wade