Eq effects chain

What makes a choir sound bigger then a single person singing?  If you ask 10 people to sing the the same note, not everyone will sing at exactly that same pitch or timing. There will be subtle variations but none great enough to hear as being off pitch. Instead our brain perceives the subtle differences in both pitch and timing as a 'wider', 'richer' & 'bigger' sound.  This effect can be re-created using a plug-in such as Schwa CMX .  It thickens and enhances monophonic audio by doubling the signal and applying small amounts of pitch shift and/or time delay to each side.  This technique is often applied to vocals or lead lines. With a light hand, CMX can add just enough fullness to give a part extra presence in a mix. With a heavier hand, CMX can create a rich and polished “expensive production” sound. The added presence is especially effective in musical styles that make minimal use of reverb.

Blue Cat's Triple EQ is a 3 bands semi-parametric equalizer that can be controlled as a single filter with customizable shape.

It includes a low shelf filter, a high shelf filter and a boost/cut peak filter. Its wide range of gain (+/-40 dB per band) and bandwidth (.01 to 5 Octave) makes it very versatile to create any filter shape. The three filters are linked together so that when you change the center frequency or the bandwidth, the parameters of the three filters are modified accordingly: you can control the entire equalizer characteristics with a single mouse click.

The graph shows the computed frequency response of the plug-in, so that you can exactly know how your signal is processed. The controls are now directly available on the filter graph, making the design of the filter shape even easier.

The Smooth Update mechanism has been included in this plug-in so that you can control the EQ in real time with automation curve or MIDI: you will get an absolutely zipper-free clean and continuous time-varying equalization with absolutely no latency. It makes this plugin the ideal companion of our for signal-dependant side chain filtering.

Effects are often incorporated into amplifiers and even some types of instruments. Electric guitar amplifiers typically have built-in reverb and distortion , while acoustic guitar and keyboard amplifiers tend to only have built-in reverb. Some acoustic instrument amplifiers have reverb, chorus, compression and equalization (bass and treble) effects. Vintage guitar amps (and their 2010-era reissued models) typically have tremolo and vibrato effects, and sometimes reverb. The Fender Bandmaster Reverb amp, for example, had built-in reverb and vibrato. Built-in effects may offer the user less control than standalone pedals or rackmounted units. For example, on some lower- to mid-priced bass amplifiers , the only control on the audio compression effect is a button or switch to turn it on or off, or a single knob. In contrast, a pedal or rackmounted unit would typically provide ratio, threshold and attack knobs and sometimes "soft knee" or other options to allow the user to control the compression.

Hi Sub. I have been an audio engineer for most of my life. I have worked on releases for everyone from Carlos Santana and David Gilmore to local artists. You have it backwards. Mastering in the analog world leaves more headroom and analog gear will not clip as quickly or as harshly as digital gear. There is about 6db of headroom with analog gear. When you go over “0” db in the digital world the clipping is instant and sounds horrible! Secondly, if you are using Waves plug ins, why on earth would you use Ozone for just the limiter? Waves has some fantastic limiters. Ozone is a good mastering plug in, I have used it myself on certain mixes but I prefer Waves because of their transparency.
Big Daddy

Eq effects chain

eq effects chain

Hi Sub. I have been an audio engineer for most of my life. I have worked on releases for everyone from Carlos Santana and David Gilmore to local artists. You have it backwards. Mastering in the analog world leaves more headroom and analog gear will not clip as quickly or as harshly as digital gear. There is about 6db of headroom with analog gear. When you go over “0” db in the digital world the clipping is instant and sounds horrible! Secondly, if you are using Waves plug ins, why on earth would you use Ozone for just the limiter? Waves has some fantastic limiters. Ozone is a good mastering plug in, I have used it myself on certain mixes but I prefer Waves because of their transparency.
Big Daddy

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