If I were to ask which type of effect plug-in you find most exciting I doubt we’ll see much mention of equalizers. The filter, compressor, reverb, and — my personal favorite, delay are more likely candidates. I reckon a lot of people actually just use the equalizer that comes with their host of choice. I know I did… until FabFilter Pro-Q.
From the product page:
FabFilter Pro-Q is a top-quality precision EQ plug-in with both zero-latency and linear phase modes, up to 24 bands and a gorgeous interface for easy and precise editing. Featuring an integrated real-time frequency analyzer and flexible per-channel and mid/side modes, FabFilter Pro-Q is the perfect tool for any mixing or mastering job.
FabFilter Pro-Q features a stunning graphical user interfacePro-Q can have up to 24 bands with a frequency range between 5 Hz and 30 kHz and gain between -30 dB to +30 dB per band.
Creating and modifying equalization bands in Pro-Q’s interactive display is a breeze. Just click on the yellow curve — which shows the overall frequency response of the equalizer, and drag up or down or double click in the background to create a band. The position of your click automatically determines the curve (bell, low & high shelf, and low & high cut with 6, 12, 24, and 48 dB slopes), a handy shortcut to creating common EQ curves which improves workflow.
And that’s what is probably Pro-Q’s main appeal; a fantastic workflow. Pro-Q is very intuitive and most tasks can be accomplished with a mouse click or two.
It also includes plenty of features for advanced editing. Multiple band selection allows for modifying parameters in parallel (relative) mode, and the Gain and Q knobs can be used to set identical values for all selected bands. Nifty! Parameters can be fine-tuned and in text entry mode you can even put exact values for precise control.
The plug-in can operate in zero latency mode or in various linear phase modes (adjustable latency). Linear phase modes introduce latency and will increase CPU usage, but they can help fix phase problems. here’s what the Pro-Q manual says:
Linear-phase filters change the phase of the incoming signal in the same way for all frequencies. This ensures that no unwanted phase cancellation will take place, preserving transients and the transparency of your music.
Whether or not you use zero latency mode and a linear phase mode will depend on the audio you are working on and the desired result.
In Stereo mode Pro-Q can process the left and right channels of the input separately to create a more balanced stereo mix (or the opposite, if that’s what you are after). Switching to Mid/Side mode will convert the stereo signal to a Mid part (mono, the signal that is in the center of the stereo signal), and Side parts (the remaining signal, on the “sides” of the mix) which can also be processed separately; great for spicing up your high frequencies or cutting out some mud in the mix.
I personally like to use my ears when using an equalizer. Just select the band, close your eyes and move the mouse around to find the sweet spot you are after. However, having some kind of visual feedback of what is going on is useful. For this purpose Pro-Q features a built-in spectrum analyzer. It can show both the pre- and post-EQ signal so you can see what your EQ is doing to your audio.
So is Pro-Q all good? Well, at $199 USD it’s not exactly cheap. My EQ of choice used to be Image-Line’s Parametric EQ 2; easy to use and it sounds good to me. Pro-Q has a lot more to offer though; more bands, Mid/Side mode, Linear Phase processing modes, the standard FabFilter goodies like MIDI Learn, undo/redo, A/B comparison, etc.
Is it worth the investment? I reckon it is, but you might also be perfectly fine using the equalizer that comes with your host of choice. FabFilter offers a 30-day fully functional trial version of Pro-Q, so why not give it a try and see how you like it.
So what do I think?
Product: Pro-Q by FabFilter
Format: Effect plug-in for PC and Mac (VST/AU/RTAS)
Price: 139 EUR / $199 USD /
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Thursday, December 3rd, 2009
Built into a very sturdy metal chassis/housing, the VoiceTone Synth contains quite a few features.
Specifically, you’ve got (deep breath): Hardtune (Auto-Tune-like) pitch correction, coupled with a vocoder; a built in carrier synth (comprising some monophonic/polyphonic presets); a transducer effect to create distortions and megaphone type effects; 10 user-editable presets (a little stingy); and USB for patch backup/transfer/updates.
There’s plenty of connectivity, including an XLR mic input, instrument jack in (plus a thru-to-amplifier connection to send a clean unprocessed instrument signal to your amp or soundcard) and XLR outputs (though it would be nice to have jack outputs too).
This box is squarely aimed at the live or studio performer and has been well thought out in regard to both applications. It’s sturdy enough to kick about on stage and straightforward to use.
Setting up is a breeze – just plug in a mic, connect your instrument to the jack input, raise the input gain until the average volume is turning the input light orange/green (red for clipping) and fire away.
Presets can be selected and stored using the left footswitch while the right footswitch can toggle the Hardtune key (if held) and also acts as an effects bypass.
In use
The Hardtune effect works like a preset Auto-Tune and it’s pretty usable if you’re already an accurate singer, though it sometimes has a problem tracking vocals and more subtle vocal vibrato accurately, even if you’re singing the correct notes in the selected scale. We hope this can be improved in a future software revision, as it can be a little bit hit and miss at times.
“The VoiceTone Synth is sturdy enough to kick about on stage and straightforward to use.”
You can use Hardtune in two ways; firstly, by singing without an instrument plugged in, selecting the key, and then selecting major or minor scales using the corresponding buttons. This is easy to do, but a major downside is that there is no internal chromatic mode setting, which is a problem if you like to sing in a more Jazzy/chromatic style and your vocal melody doesn’t fit into the included preset scales.
Again, we hope this can be sorted via an update but there is one workaround. This involves plugging in a synth or guitar, selecting Auto mode and playing an external instrument to dictate the pitch chromatically.
The onboard vocoder sounds great, tracks well and the intelligibility is good with vowel/consonant sounds captured accurately. Also, the four internal synth/carrier tones aren’t too bad and can be easily altered using the Rez control/tone button. Feed in a decent external synth, though, and the vocoder truly comes to life.
Finally, the Robot vocoder mode and the transducer effects do what they say on the tin too.
Summary
All in all this is a useful box but it’s not without its issues. It’s a good vocoder, and the Hardtuning works fairly well (except for the lack of a chromatic mode) while the transducer effects are useful too. However, without an internal chromatic mode and because of its occasional tracking issues, it’s currently not quite as happening as we’d hoped.
Listen to some of the things that the VoiceTone Synth can do:
Hardtune
Internal synth
Vocoder
Radio filter
Continue reading here:
TC Helicon VoiceTone Synth
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Thursday, November 5th, 2009
The Moogerfooger MuRF already comes in two flavours, the standard version and the bass version. This latest revision rolls these two variants into one unit with a switch to change the filter ranges between mids and bass, but the most important change is the addition of a MIDI input.
Though the MIDI MuRF still possesses CV (Control Voltage) inputs for parameter control, as with all Moogerfoogers, the introduction of a MIDI input allows for full external parameter controls via this more widespread protocol.
Before looking at what can be done via MIDI let’s first look at what the MIDI MuRF can do on its own.
Overview
The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders. These filters are controlled by the animation parameters (Pattern, Rate, Envelope and LFO), whilst the Drive (input), Mix and Output knobs adjust the overall effect blend. The animation controls can be adjusted via CV and/or foot controllers/ switches via the input jacks at the rear of the pedal.
The Pattern selector accesses 12 animation step sequences per frequency type (toggled via the Freq switch). The first of each 12 has no animation and turns the MuRF into a static filter array which can be used to achieve some lovely scoops and peaks. The LFO switch adds some basic movement to the sound as it sweeps the filter frequencies as a group, though this requires CV or a foot controller to adjust the rate.
“The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders.”
The essential character of the MuRF kicks in with the other 11 patterns, which are pre-programmed sequences with anything from eight to 64 steps. These sequences trigger an envelope for each of the eight filters, the shape of which is determined by the Envelope knob (more later). The clever part is that the triggering can either be momentary (on for a sequence step only) or latched (on until the next trigger which turns it off again). This produces rich variations in patterns that may take several revolutions around the sequence to resolve.
Changing the filter levels further adjusts the balance within the patterns to radically change their rhythmic emphases. This effect is generally referred to as ‘step filtering’.
Envelope
The Envelope control is just one knob and sets the behaviour for all the filter triggers. At its 12 o’clock position the filter attacks and decays are even and resemble a triangle wave, but by rotating clockwise/anti-clockwise the attack/decay is lengthened, thus smearing the filter overlaps in time. Further rotation starts to shorten the whole envelope so a more pulsed shape is achieved, which works wonders for harder rhythmic patterns.
The Rate knob controls the overall stepping speed, with a corresponding LED flashing red to indicate it. When a foot switch is used in the Tap/Step socket the LED will flash green to indicate the tempo – a small detail, but it really helps when it’s on the floor amongst a mass of other pedals.
On the subject of LED colours, the Drive knob controls the input gain and can be used to introduce some smooth distortion into the signal, and so the corresponding LED goes from green (signal present) through yellow (optimum level) to red (clipping occurring).
Another detail that impresses us about the MIDI MuRF is that when both output jacks are used the filters are split so that the odd numbered ones go to the left and the even numbered ones go right, which creates great stereo panning tricks.
(2 pages; go to page: 2)
More:
Moog Moogerfooger MIDI MuRF
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Friday, October 30th, 2009
We need to clear a few things up before we get into the 22 Caliber. It’s not an effects pedal, a DI box, or a booster; nor is it even a preamp. It is, in fact, a 22-watt power amp that’s been squeezed into a chassis measuring a mere 110mm by 55mm and is compatible with any speaker cab with a rating of between four and 16 ohms.
Imagine it’s a traditional amp, and treat it in exactly the same way. So, you plug your guitar into the input and from the output you’ll need to run a speaker cable into the input of a speaker cab. Controls comprise merely a volume pot plus a bright/norm switch that adds or reduces tonal bite.
It’s entirely possible to run your effects chain straight into the input and, if you require some more tonal versatility, it’s likely that you’ll actually need to utilise an overdrive device of some description.
Sounds
Having said that, as with a traditional amplifier, the higher you wind the volume control, the fatter and dirtier the tone gets and, through an Orange 2 x 12 cab, the tone is absolutely huge.
Here are three clips, the first with the bright switch engaged and the volume on three:
Next, the normal setting, volume on six:
Finally here’s the same setting with the volume wide open:
The 22 Caliber offers that organic and wide-open overdrive that will attract QOTSA fans in their droves, but with a modern overdrive pedal in front of it, it reacts just as you’d hope.
Although perfectly usable in its own right, we reckon this is the perfect solution to ‘broken amp syndrome’.
More here:
Electro-Harmonix 22 Caliber
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Friday, October 9th, 2009
The DigiTech Vocalist Live 2, was purely for processing vocals and adding two-part harmonies, triggered by guitar and intelligently following the chords played. DigiTech has now come up with the Vocalist VL3D, a desktop processor with an expanded feature set.
The VL3D’s wedge shape gives easy access to the controls and clear visibility to the illuminated info panel. All the connections are neatly tucked away at the rear, as is the knob to set the input level, although it’s still easily accessed from the front.
The control panel is split into switchable sections that process the vocal signal. The first section offers four knobs to tweak the sound of the voice before any pitch correction or harmonies are added. There’s a noise gate, de-esser, compressor and a ‘warmth’ knob to add simulated valve distortion. The next section applies pitch correction to the voice – tweaking any out of tune notes to fit into a 12-note chromatic scale.
A choice of studio, room and hall reverb can also be added to the overall sound. Adding harmonies to the voice is possible courtesy of DigiTech’s MusIQ Technology, which analyses the singer’s voice to generate the most musically correct harmonies.
“You may not have to rely on the ‘pitch-challenged’ bassist and drummer ever again.”
Two harmonies can be generated by playing guitar chords or, in the case of an unaccompanied singer, by using the unit’s front panel buttons to set the key and scale for a particular song. For each harmony you have an easily understandable choice of bass, lower, low, double, high, higher or octave. Each can take on the natural character of the singer’s voice or have its gender altered!
In addition a ‘humanize’ knob adjusts the perceived naturalness of the harmony voices. A ‘harmony mix’ knob sets the mix of lead voice and harmonies from lead voice only through to harmonies only.
The VL3D contains five programmable memories for storing your settings and each of these can contain two independent settings – Part A and Part B – selected using a front panel switch or an optional footswitch. If two harmonies isn’t enough, up to four harmonies can be created in MIDI mode by inputting MIDI notes into the VL3D.
Sounds
Guitarist’s Simon Bradley puts the VL3D through its paces in the following clip. In each case, you’ll hear the guitar and unadorned voice first:
Plug a mic into the back for singing, plug in your guitar and connect a lead from the guitar thru socket to your amp, tune the guitar using the onboard tuner then choose the vocal sound and harmony voices that you want – setting up is that simple. All that’s left to do is sing while playing rhythm guitar into the VL3D and you’ll find yourself musically valid harmonies that sympathetically follow the song’s structure for an instantly bigger sound.
(2 pages; go to page: 2)
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DigiTech Vocalist VL3D
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