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Trinity eQ is a detailed emulation of a coveted and highly sought out British console equalizer that has been used in countless records throughout the world. To faithfully reproduce the elusive analog sound in your DAW, we recommend using Trinity eQ in all tracks where you need to shape or even just color the sound:
- On single track: Insert Trinity eQ on the audio tracks in any position of the effects chain (to taste). Trinity eQ sounds great on any instrument and voices.
- On master track: Trinity eQ is inserted on the mixbus, or group bus, as last insert giving at the whole mix the classic British console sound.
Despite the digital revolution in the pro audio industry, many of today's top albums are still mixed with analog outboard gear. Mixing with analog devices often still sounds better to many people. There is a very elusive and almost "magical" quality imparted from analog signal chains that is missing in the digital realm. There appears to be more weight to a mix, and the overall sound is more three dimensional. Analog devices produce electrical artifacts that affect frequency response, add harmonics, cause signal clipping and increase noise. These artifacts, which audio engineers often consider the character of a particular device, result from a combination of factors such as component grade, technology type (i.e. vacuum tubes, ICs, transistors), power supply specifications, equipment casing and other variables.
Depending on the circuit characteristics, input signal frequency response varies. Some circuits cut frequencies, others boost them. This behavior is part of the overall device character and should not be confused with user adjustable EQ.
Total harmonic distortion (THD) is based on the levels of the odd and even harmonics of an input signal, usually at a level much lower than the fundamental level. THD balance and decay are circuit dependent, and thus differ from device to device.
CrossTalk and Noise are two elements which every designer tends to avoid to not affect the audio quality. Since in the analog world they can't be avoided, fortunately in digital domain with Volterra Technology we have reduced the noise at less of -120dBfs and completely avoided CrossTalk during the sampling.
The result is an optimum full quality sound from a like-new working condition hardware.
- High Pass Filter: The HPF switch inserts a 70Hz High Pass Filter with a rolloff of 18dB per octave into circuit after the input. This may be used to eliminate unwanted low-frequency noises such as rumble, pops, camera buzz.
- Low Shelf: The LF switch inserts a Low Frequency Shelf Filter fixed at 80Hz with ±15dB of adjustable gain. This frequency represents the punch in bass drums, bass guitar, fat synths and some really serious male singers. Used in conjunction with the HPF, you can boost the LF without injecting tons of infrasonic debris into the mix.
- Mid Bell: The LMF and HMF switches inserts the Low Mid Frequency and High Mid Frequency Bell Filter respectively, they provide ±15dB of adjustable gain at the frequency determined by their frequency knobs. LMF extends down to 100Hz which includes the male vocal range and the fundamentals of some lower instruments. HMF extends up to 8000Hz which includes the female vocals range as well as the fundamentals and harmonics for many instruments.
- High Shelf: The HF switch inserts an High Frequency Shelf Filter fixed at 12kHz with ±15dB of adjustable gain. Use this to add sizzle to cymbals, and an overall sense of transparency or edge to the keyboard, vocals, guitars... Turn it down a little to reduce sibilance, or to hide tape hiss.