KVR :: Effects » heard a rumor equality is coming out with steep butterworth filter option...(answer :TRUE, new eq) [View Original Topic]
There are 21 posts in this topic.
TheoM - Wed May 16, 2012 8:08 am
any truth to this Dave?
posted here cause would be good for other potential purchasers to know also.
cheers!
p.s that would make equality an even more no brainer.
i know i know i haven't bought it yet but it's juts $$$ mate nothing more nothing less.
a $205 eq pack is hard to get living on disability pension! And you will probably do some combo deals with pitchfunk..so... i wait
antithesist - Wed May 16, 2012 9:46 am
TheoM - Wed May 16, 2012 10:39 am
???
i read it in the weirdest place, in a forum for a competitors product, that the customer spoke to Dave who informed him he was working on it. I just wanted to know if it was BS.
DaveGamble - Wed May 16, 2012 11:05 am
There is a DMGAudio EQ with a Butterworth option coming soon, yes.
Not yet 100% sure that the changes will make their way back into EQuality (would likely break control schema/sessions. Not keen on that).
Dave.
TheoM - Wed May 16, 2012 11:11 am
if it's in Equick, then i'm in.
But if another eq product again, can you give us a heads up., so i wait?
i mean if i bought equality it would be the combo anyway, without a shadow of a doubt.
cheers
antithesist - Wed May 16, 2012 1:18 pm
How about a filters only plug-in with:
UAD Cambridge:
Low Cut / High Cut Filters
Four types of responses are provided: Coincident Pole, Bessel, Butterworth, and Elliptic. The numbers represent the filter order, i.e. Bessel 4 is a fourth-order filter. Each offers a different sound. The responses are more gentle on filters with lower numbers, and get steeper and more aggressive as the numbers increase. The coincident-pole filters are first-order filters cascaded in series and offer gentle slopes. Bessel filters are popular because of their smooth phase characteristic with decent rejection. Butterworth filters offer even stronger rejection. The Elliptic setting is about as "brick wall" as you can get. Generally speaking, more phase shifting occurs as the response gets steeper.
SSL X-EQ:
Critical: 'Critical Damped' filters simulate a chain of passive analogue RC (for high-cut) and CR (for low-cut) stages fixing a behaviour similar to a series of RC elements in vintage analogue equipment.
Bessel: Linear phase behaviour leads to no overshoot or ringing resulting from a sudden transition between signal levels. The drawback is a sluggish roll-off rate.
Gaussian: No ringing or overshoot in the time domain, but slow roll-off in the frequency domain.
Butterworth: Characterised by having a maximally flat magnitude response, ie. no amplitude ripple in the passband.
Chebychev: Characterised by having an equiripple magnitude response, meaning the magnitude increases and decreases regularly from DC to the cutoff frequency.
Wave Arts TrackPlug:
TrackPlug's brickwall filters are implemented using 10th order elliptical filters, with at least 90 dB of stopband attenuation and less than 0.1 dB of passband ripple.
Aiynzahev - Wed May 16, 2012 2:26 pm
antithesist wrote:
How about a filters only plug-in with:
UAD Cambridge:
Low Cut / High Cut Filters
Four types of responses are provided: Coincident Pole, Bessel, Butterworth, and Elliptic. The numbers represent the filter order, i.e. Bessel 4 is a fourth-order filter. Each offers a different sound. The responses are more gentle on filters with lower numbers, and get steeper and more aggressive as the numbers increase. The coincident-pole filters are first-order filters cascaded in series and offer gentle slopes. Bessel filters are popular because of their smooth phase characteristic with decent rejection. Butterworth filters offer even stronger rejection. The Elliptic setting is about as "brick wall" as you can get. Generally speaking, more phase shifting occurs as the response gets steeper.
SSL X-EQ:
Critical: 'Critical Damped' filters simulate a chain of passive analogue RC (for high-cut) and CR (for low-cut) stages fixing a behaviour similar to a series of RC elements in vintage analogue equipment.
Bessel: Linear phase behaviour leads to no overshoot or ringing resulting from a sudden transition between signal levels. The drawback is a sluggish roll-off rate.
Gaussian: No ringing or overshoot in the time domain, but slow roll-off in the frequency domain.
Butterworth: Characterised by having a maximally flat magnitude response, ie. no amplitude ripple in the passband.
Chebychev: Characterised by having an equiripple magnitude response, meaning the magnitude increases and decreases regularly from DC to the cutoff frequency.
Wave Arts TrackPlug:
TrackPlug's brickwall filters are implemented using 10th order elliptical filters, with at least 90 dB of stopband attenuation and less than 0.1 dB of passband ripple.
UAD Cambridge:
Low Cut / High Cut Filters
Four types of responses are provided: Coincident Pole, Bessel, Butterworth, and Elliptic. The numbers represent the filter order, i.e. Bessel 4 is a fourth-order filter. Each offers a different sound. The responses are more gentle on filters with lower numbers, and get steeper and more aggressive as the numbers increase. The coincident-pole filters are first-order filters cascaded in series and offer gentle slopes. Bessel filters are popular because of their smooth phase characteristic with decent rejection. Butterworth filters offer even stronger rejection. The Elliptic setting is about as "brick wall" as you can get. Generally speaking, more phase shifting occurs as the response gets steeper.
SSL X-EQ:
Critical: 'Critical Damped' filters simulate a chain of passive analogue RC (for high-cut) and CR (for low-cut) stages fixing a behaviour similar to a series of RC elements in vintage analogue equipment.
Bessel: Linear phase behaviour leads to no overshoot or ringing resulting from a sudden transition between signal levels. The drawback is a sluggish roll-off rate.
Gaussian: No ringing or overshoot in the time domain, but slow roll-off in the frequency domain.
Butterworth: Characterised by having a maximally flat magnitude response, ie. no amplitude ripple in the passband.
Chebychev: Characterised by having an equiripple magnitude response, meaning the magnitude increases and decreases regularly from DC to the cutoff frequency.
Wave Arts TrackPlug:
TrackPlug's brickwall filters are implemented using 10th order elliptical filters, with at least 90 dB of stopband attenuation and less than 0.1 dB of passband ripple.
That would be a really good plugin to have
TheoM - Wed May 16, 2012 3:06 pm
yeah the ssl eq is all but useless having fixed filter types per band..
only one low cut? just silly and an outrageous asking price.
antithesist - Wed May 16, 2012 6:33 pm
DMG needs a good freebie, no? I use cleansweep quite a bit, but it only has the one type/slope. Maybe Dave could have mercy on us and roll all or at least some of the above plus some of his magic into some cleverly named filter plug-in? Oh, and add resonance where possible (think VOG). Please? Of course any other developers would be welcome to give it a shot. I have a good idea who would win, so why not skip the race and go straight to the finish line? (or maybe it could at least be for people who already have equality and/or equick)
Krzysztof Oktalski - Thu May 17, 2012 4:34 am
Our next EQ will be killer; but there will never be an advantage to waiting - existing customers are always looked after, so there will be a preferential upgrade path for them. It won't replace EQuality - it will be it's big brother and it will cost more.
EQuick is what it's designed to be - a small, quick EQ for fast mix corrections where EQuality seems like overkill. It won't evolve much past where it is, because it doesn't need to. I wouldn't use it on my end chain (whilst I have EQuality), but it's great for sorting little issues out here and there.
TheoM - Thu May 17, 2012 8:54 am
Oh ok thanks at least i know equick is not the target, an all new eq.
Hmmmm.
Ok alot to think about.
thanks!
antithesist - Thu May 17, 2012 9:04 am
Sorry KO, I didn't mean to leave your out of the praise, flattery and overt favor currying (or is that curry flavoring?).
LeVzi - Thu May 17, 2012 9:13 am
Krzysztof Oktalski wrote:
Our next EQ will be killer; but there will never be an advantage to waiting - existing customers are always looked after, so there will be a preferential upgrade path for them. It won't replace EQuality - it will be it's big brother and it will cost more.
EQuick is what it's designed to be - a small, quick EQ for fast mix corrections where EQuality seems like overkill. It won't evolve much past where it is, because it doesn't need to. I wouldn't use it on my end chain (whilst I have EQuality), but it's great for sorting little issues out here and there.
EQuick is what it's designed to be - a small, quick EQ for fast mix corrections where EQuality seems like overkill. It won't evolve much past where it is, because it doesn't need to. I wouldn't use it on my end chain (whilst I have EQuality), but it's great for sorting little issues out here and there.
EQuality's big brother ??????
OK now you got my attention ! lol (You had it anyway but you know what I mean)
EQuantity on the way then
TheoM - Thu May 17, 2012 9:21 am
thing is what can they possibly do to make equality better that needs a whole new plug in?
i just thought the way it is right now with more freedom to pick filters would make it the *perfect* eq, seriously.
If the duende had a listen option and a free choice of filters, it would be an example of a perfect eq, with it's assortment of shapes, parallel mode and ultra steep filters.
So i am guessing Equality * 2 will be bigger, have the suggested choice of filter per band, and a variety of different filter curves to choose from?
Am i on the right track?
Oh i guess why it would be hard to change equality itself to that degree, to keep project compatibility etc, it would be alot of coding. So a three prong combo of killer eq's makes sense.
Ok i am stating it right here right now., I am going to dmgaudio.com right this second to buy equck and equality combo. Should be done in 5
TheoM - Thu May 17, 2012 9:24 am
DONE! OMG i finally did it! poor now of course since none of my stuff in MP will sell
but finally an official DMG customer!
YAYAYAY!!
TheoM - Thu May 17, 2012 9:32 am
I'm so excited just went into my DMG account and saw my licenses, YAY i can use equality and equick again (demo expired ages ago)
wowoowowowowo
ok yes i am excited about an eq (and pitchfunk!)
LeVzi - Thu May 17, 2012 2:19 pm
EQuality is exactly that, pure quality.
But I am totally intrigued as to what it's big brother could hold.
They made something special with EQuality and COMPassion, so to improve or just go deeper with something like EQuality is pretty hardcore tbh.
antithesist - Thu May 17, 2012 3:07 pm
Dave's dropped some insights in various forum threads and on the DMG blog. Basically what I get and remember is combine equality and equick features and add a lot more: L/R-M/S per band and across surround pairs, as an example. I'd like to see gain/Q interaction setting per band, kind of like masterworks, but continuous like equality. Then we could do some nice vintage and hybrid curve-a-likes.
TheoM - Thu May 17, 2012 4:01 pm
ahh yes the one thing i missed from the pro-q is the L/R per band, at least
good to see we will get that,
loved that with pro q, just right click and select split!
Krzysztof Oktalski - Thu May 17, 2012 11:20 pm
ttoz wrote:
i just thought the way it is right now with more freedom to pick filters would make it the *perfect* eq, seriously.
Exactly. Our next EQ will feature everything we couldn't make work with EQuality - for example, surround processing and more filters. There's no point in us releasing a new EQ unless it redefines the game, and this is what we hope to achieve; something that will catch all of the exceptional use cases as well as the standard ones that we designed EQuality for, and more flexibility.
It's still a while away yet, so holding your breath might not work out well - congratulations on your purchase!
Inicidentally antithesist, on the subject of Gain/Q interaction - why would you like to see it per band? It doesn't really do anything, we're wondering whether gain/q interaction really has any relevance in the digital world at all. Why do you need to be tricked into different relationships between the 2? I think in the long term it can only act as a distraction or a piece of misinformation as regards how the interface and the output relate; changing that per band surely means making it harder to predict the behaviour of that band. What say you?
antithesist - Fri May 18, 2012 3:56 am
KO: I wrote a whole long thing thinking the reason was one thing, which is still valid. But I'll spare you that, at least for now. When I was trying to draw that treatise to a conclusion, it occurred to me that, in most cases, I like some amount of gain/Q interaction when using equality. But, that setting is usually a compromise since it's global for all the bells. It's sort of like if the shelf shift were always the same for both high and low. I know, that does something though, something that can't be done without the shift control. Well, I guess it's about economy. If there were separate GQI controls in those nice open spots in the slope/shift row, I'd take a guess at Q and GQI settings based on how peaky I want the band to be as I increase the gain. It's just not the same as setting only the Q. I like the Q to change when I change the gain. It's kind of like key follow on a synth filter. Sure, I could probably play a lead and turn the filter knob to brighter as I go up and darker as I go down. Anyway, I guess the answer is because I like it. It would be nice to have bell asymmetry per band as well. But hey, you take what you can get where you can get it.
There are 21 posts in this topic.