Dynamic EQ questions.

[JoshRose]

Just an update on my situation... The McDsp, although very nice, is not the right tool for the job. Apparently you cannot adjust the crossovers of each band. Compressing 1k-10k isn't the solution to my problem.

Just an FYI in case anyone else is dealing with a similar issue. The more I use the channel compressor in side chain mode, the more I like it. I might not need to research any other solutions.

[Nicolas Lowman]

Hi Josh,

The crossover frequencies are all adjustable. One way is to click on the crossover and drag it to where you want it. Another way is to double click on the frequency number like 1k or 10k and type in whatever frequency you would like it to be on.

Nicolas

[Denny Jagard]

I'm hoping someone invents the plug in version of a BSS 901. 4 bands of dynamic eq, adjustable by center frequency. The Rane is great, but not enough bands (once you take care of the harsh 3k you start to notice how boomy it can get at 250 or boxy at 600, etc). And the McD is cumbersome, having to adjust 2 crossover points rather than selecting a center. With the 901 (back in the analog days), I used to hear a peak that bothered me, then crank a filter up to expand, and adjust the filter frequency center to the most annoying frequency, then crank it to compress. The end result was a very subtle reduction of the annoying frequency only when it hit that level. If anyone knows of such a product that works on a Profile, please email me. I have outboard TC EQ stations I can AES insert, but they are a bit cumbersome to carry on a plane and still only 2 dynamic EQs per channel.
[email protected]
thanks,
denny

[sonicboost]

Anyone here tried Waves C4 on the Venue?
Sounds like several of you are describing that you are looking for what C4 does. I haven't tried it live before - but it sounds like it would be a really good fit for what some of you are saying you need. I'd like to add a multiband compression plug this year, and this is the way I'm leaning unless conventional wisdom leads me other wise.
Only concern I have with it is I believe it does have introduce something like 65 samples, and will probably use quite a bit of DSP. So, for an SC48 it might be tough to use. We have a D-Show with 4 mix engines, so I have plenty of DSP to play with on that system. Hoping to add either Profile or SC48 to our student auditorium though.
http://www.waveslive.com/html/all-plugins.aspx#C4

[Denny Jagard]

I've had good results with a C4 on recording projects for mastering type of applications. Never tried it on an Avid live desk. What I'm looking for is reducing specific frequencies that rear their ugly heads occasionally without changing the eq or dynamics of the rest of the signal, for example a singer who gets harsh, woofy, boxy, boomy occasionally (like if he/she sings loud, cups the mic, gets very close to the mic, drops the mic, etc). In these cases I don't want to EQ the channel because MOST of the time it sounds best with those frequencies left alone. And because I'm using it that way, for live applications, I like the quickness and surgical precision of having fully parametric filters at my control NOT crossover frequencies. For example, if a singer has an occasional harshness at 2.7K, on a multi-band comp, I would have to set crossover points above and below 2.7K hoping to guess the center correctly. But say he also has a peak when he cups the mic at 1.2k. Now I have to figure out where to set the next lower crossover point (to use the filter below the one I set for my 2.7k reduction). And then if it is off a bit, if I want to make an adjustment it will affect both of the filters. And, perhaps the 2.7K filter could be very narrow but the 1.2 filter wants to be wider. You can see where this is becoming a lot more work (and less possible during a live event) than having a dynamic EQ where you can set filters to be at a specific frequency and adjust their width/Q.

[waltz mastering]

Originally Posted by JoshRose

When using the side chain function with the on-board compressor, is the full range of signal compressed, or only the key range? I assumed the full range of the signal would be compressed, and that the filters only determined the range that triggered the compression. However, I have been using the side chain lately, and it has been sounding surprisingly transparent, even at 15db+ of compression.

Every compressor and expander has a side chain.
They listens to the input signal through the "SIDE-CHAIN" circuit.
It's just a matter of being able to manipulate/control or patch into the side chain and having the unit respond to that.

Any filtering applied to the side chain will not effect the actual input signal...only how the unit responds to the side chain.

[dstagl]

Originally Posted by Denny Jagard

I've had good results with a C4 on recording projects for mastering type of applications. Never tried it on an Avid live desk. What I'm looking for is reducing specific frequencies that rear their ugly heads occasionally without changing the eq or dynamics of the rest of the signal, for example a singer who gets harsh, woofy, boxy, boomy occasionally (like if he/she sings loud, cups the mic, gets very close to the mic, drops the mic, etc). In these cases I don't want to EQ the channel because MOST of the time it sounds best with those frequencies left alone. And because I'm using it that way, for live applications, I like the quickness and surgical precision of having fully parametric filters at my control NOT crossover frequencies. For example, if a singer has an occasional harshness at 2.7K, on a multi-band comp, I would have to set crossover points above and below 2.7K hoping to guess the center correctly. But say he also has a peak when he cups the mic at 1.2k. Now I have to figure out where to set the next lower crossover point (to use the filter below the one I set for my 2.7k reduction). And then if it is off a bit, if I want to make an adjustment it will affect both of the filters. And, perhaps the 2.7K filter could be very narrow but the 1.2 filter wants to be wider. You can see where this is becoming a lot more work (and less possible during a live event) than having a dynamic EQ where you can set filters to be at a specific frequency and adjust their width/Q.

I'm with you Denny. I would also prefer a dynamic EQ like a 901. I'd be happy if the Rane had at least 2 bands, but 4 would be ideal.

Dave

[Live Sound Audio]

I use the C4 and the McDsp frequently and they both are fantastic. I don't think the C4 has that many samples delay for the Venue - thought Waves optimized them ...??

[digidesigner]

Originally Posted by Live Sound Audio

I use the C4 and the McDsp frequently and they both are fantastic. I don't think the C4 has that many samples delay for the Venue - thought Waves optimized them ...??

Yes it does, you can check all the delays yourself, I'm not at the desk right now but I think it was at the Plugins tab and by right-clicking on them when assigned in the rack.

[Lee Lundgren]

I've always loved using the dynamic eq TC Electronic has for their powercore dsp platform. I just wish they made a TDM version.