KVR Audio

electro · Post by **electro** » Sun Jan 22, 2006 9:27 pm

Voxengo Curve EQ
Voxengo HarmoniEQ
Voxengo Gliss EQ

Which do you use for what?

Aleksey Vaneev · Post by **Aleksey Vaneev** » Sun Jan 22, 2006 9:38 pm

I would suggest using CurveEQ and HarmoniEQ for final mix equalizing. GlissEQ is better suited for in-track use (its intertrack spectrum monitoring function is especially useful). However, GlissEQ can be used for final mix equalizing, too - it just has a different sound.

electro · Post by **electro** » Sun Jan 22, 2006 10:22 pm

Does Gliss impart a colored tone like an Analog EQ? I'll be trying the demo soon.

bmanic · Post by **bmanic** » Sun Jan 22, 2006 11:15 pm

I often use HarmoniEQ on individual tracks. The softP mode can however be used on the master too. I quite strongly suggest not to use any of the other modes on a full mix unless you are 100% it works there as it does some modification of the transients or sort of moves dynamically according to the content of the mix. This usually doesn't sound very musical on a full mix but can work extremely well on single instruments (especially on drums!).

Cheers!
bManic

aMUSEd · Post by **aMUSEd** » Sun Jan 22, 2006 11:33 pm

electro wrote:Voxengo Curve EQ
Voxengo HarmoniEQ
Voxengo Gliss EQ

Which do you use for what?

I was wondering the same about the URS bundle too - why would anyone need so many different ones?

bmanic · Post by **bmanic** » Sun Jan 22, 2006 11:47 pm

Different "tone" I guess but in the case of URS, probably pure marketing. They each have a slightly different "shape" to the eq but as for tone, they don't seem to affect the signal in any way, shape or form when audio is ran trough the eq without touching a knob (which is of course NOT true at all with the real neve/api modules). The neve especially, the real one, does alter the sound quite a bit by simply running trough it. I've got a 'replica' of the 1073 in the sintefex and it sounds a bit similar to the urs model except for the 'tone'.

Cheers!
bManic

electro · Post by **electro** » Mon Jan 23, 2006 12:09 am

bmanic wrote:I often use HarmoniEQ on individual tracks. The softP mode can however be used on the master too. I quite strongly suggest not to use any of the other modes on a full mix unless you are 100% it works there as it does some modification of the transients or sort of moves dynamically according to the content of the mix. This usually doesn't sound very musical on a full mix but can work extremely well on single instruments (especially on drums!).

Cheers!
bManic

That is my understanding of what the Soniformer does. I have been fiddling with the Soniformer demo for a bit, but I really have to sit and read to understand how it works.

bmanic · Post by **bmanic** » Mon Jan 23, 2006 12:41 am

Eh? Soniformer is a multiband compressor. Nothing at all to do with EQ (though you can also just eq with it using the output gain page).

Cheers!
bManic

Aleksey Vaneev · Post by **Aleksey Vaneev** » Mon Jan 23, 2006 2:17 am

electro, GlissEQ does not add any additional enhancements to the sound. It is pretty unique in its dynamic equalizing performance which creates much less fatiguing sonic changes.

egbert · Post by **egbert** » Mon Jan 23, 2006 3:14 am

I use HarmoniEQ and GlissEQ for individual tracks. I use HarmoniEQ on electric bass and kick drums quite a bit. The range of modes make it pretty flexible - you can turn off the harmonic coloration with the SoftP and PhasyP modes if you want. Pushing the upper mids and top end can be useful for adding some extra bite to vocals, snare drums, hihats and saxophones.

The FFT display in GlissEq is useful when shaping track sounds -- if I am using HarmoniEQ I often use it with SPAN, the freebie FFT analyser if I want some visual feedback on what the Eq is doing. GlissEq has its own sound, uses very little CPU and has an incredibly easy to use GUI.

I have several other Eqs which are in the same league sonically but the ease of operation makes me reach for these two more often.

Lazlo Minimart · Post by **Lazlo Minimart** » Mon Jan 23, 2006 2:27 pm

FWIW, I use GlissEQ all the time on mixes. I think the dynamic characteristic of the EQ is especially helpful for mix equalization... sort of like a plugin version of the Weiss dynamic EQ (http://www.weiss.ch/eq1/eq1-dyn.html). I generally prefer a dynamic EQ like GlissEQ to multiband compression (tho I use Soniformer 2 a lot, too, of course, tho with subtle settings).

fgimian · Post by **fgimian** » Tue Jan 24, 2006 1:46 am

I own all three of these too and here's how I use them...

I would generally use GlissEQ on tracks that seem harsh, a good one is vocals, you can boost the highs without worrying about the s's and t's sounding harsh. I also usually throw a GlissEQ on the master as a broadband EQ to bring up everything above 10 k. The reason I like it on the master bus is because it never sounds harsh due to the Dynamic nature.

I use CurveEQ purely for matching EQ during mastering, I never overdo it, but use a common track to make sure that all tracks on the album have the same sorta sound, used lightly this sounds incredible. You can also use it as a manual mastering EQ.

1. Reset to 60 bands
2. Right double click on the background of the EQ curve
3. Hold down Alt and drag the curve up or down

this is the only way I use it for mastering since i find drawing curves rather difficult / tedious.

HarmoniEQ for me, is my ultraspecial mastering EQ that usually goes after CurveEQ, usually in Normal / SoftP mode. I use it to make highs crisp mainly, this has the most beautiful high end (treble) of any EQs I've ever heard.

On tracks I tend to use the GEQ by Kjaerhus and only if that doesn't work, I switch to the GlissEQ. That does happen once in a while too, and nothing that I own can do what the GlissEQ can do.

Hope this info helps
Fots

The Voxengo EQs