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Here's what you didn't know about Logic’s vintage EQ collection |
Are Logic Pro X Stock Plugins Any Good? — Sage Audio.
The result is a tight, focussed bass-lift that keeps the extreme low-end clean. You can either tame or boost the mid-range using the semi-parametric mid.
In the example with the drums, listen to how a 3. The High Gain is another shelving control, this time set at a fixed position of 12kHz. Adding Drive brings out the soft saturation modelled from the original analogue hardware.
You can either add it to your existing EQ curve, or simply use it without any EQ being applied for a subtle touch of extra colour. Volume Correction The combination of a healthy dose of Drive combined with an additive EQ setting can start to push the output levels of the plug-in. Use the Volume control to tame the output level, which is also useful if you need to objectively compare before and after EQ. The Vintage Graphic EQ takes a different approach with 10 separate bands of cut or boost.
Try experimenting with extreme settings of cut and boost and note how Q becomes sharper at the extreme ends of the scale.
Of course, the positioning and relative spacing of these bands forms a big part of the sound of the API Use tune to shift this position in relation to the key of your track. The additional Attenuation cuts slightly above the cut-off point, clearing some low-mids ahead of the bass boost.
Read our quick guide to the Low-End Trick here. The Pultec creates a silky top-end boost that sounds great on strings. Set the Frequency between 12 and 16kHz with a wide Bandwidth. An alternative to high-end boost is the Attenuator, which can be thought of as a relatively soft low-pass filter.
The bottom section is technically a separate equalizer — the MEQ The first section is a Peak control, covering a frequency range of Hz to 1Khz. Anybody familiar with this console will recognise this layout as that of the Neve channel strip EQ. Designed in by Rupert Neve, this channel strip is a favourite of many engineers on just about any instrument you throw it at.
This EQ features the same controls as the original: a switchable high pass filter, a switchable low shelving filter and mids bell filter, and a fixed shelving filter at 12 kHz. Where this differs from the original however, is the ability to set the controls to frequencies between the original stepped EQ points, allowing significantly greater control over sonic balance. Like the original, it also features a drive control which allows you to control just how much of the unique saturation this unit offers is applied.
Try it on bass, drum shells, and vocals to add size and life! It also features a drive knob not found on the original. This classic and unique sound makes it an especially appropriate choice for drums and guitars and voice. Last but not least, this emulation is based on a legendary pairing of not one but two EQ units, which can also both be bypassed independently within the plugin.
Unless you have thousands and thousands in spare change the original units and even reproductions are virtually inaccessible, so having the sounds and characteristics available to you in as many instances as your CPU allows is a fair tradeoff. Not just for the master bus, this pairing is well suited to submixes like a Drum, Cymbals, or Bass bus, with its ability to add excellent beefy lows or super silky highs and mids.
Think of it as adding broad, yet final and subtle strokes of paint to a canvas, the kind that make the sweetest difference. Tip : If you increase the low boost and cut by similar amounts, the result is not a cancellation as you might think, but a more controlled and focused low end owing to the fact that both filters are of different orders.
This is the famous Pultec trick for adding and controlling some serious low end on your tracks! You may have noticed that each EQ has a different setting under the Drive knob and are so named to associate their sound with each particular emulation: Smooth for Neve, Punchy for API, Silky for Pultec. Thanks to the magic of plugins, we can actually swap these around in each of the EQs, or even disable them altogether.
Add that to the already increased flexibility of the plugins, we now have the opportunity to process our source material in truly unique ways.
You can also level match the two tracks via the Gain plugin on the mastering chain and also add that all important saturation via the Vintage EQs. Turn it all the way up and then simply click through the Output Models until I hear the sound I want sonically. Basically, what the drive and output models do is add harmonic distortion, this is often perceived as making a track warmer and fuller and will help make my master sound slightly bigger too without the need to over compress the mix.
Often the best way to clearly hear the different models is to fully turn up the drive. This allows you to hear the unique characteristic of each model.
Some are subtler than others smearing the saturation and others add a bit more punch and presence, no prizes for guessing which one adds punch! I want to combine two saturating plugins to add more depth and more compression style saturation. Mastering engineers will often follow this approach adding small amounts of processing from different hardware units which ultimately make up the final sound.
Already you can hear a difference to читать music and you should be able to perceive that it feels a little fully and the music has more warmth. The next question I address is what frequencies do I want to remove or lower and what frequencies do I want to enhance and which Vintage EQ offers the best colour for this particular track?
Take a listen to how different the two EQs sound. It could be vintage eq logic pro x free do with the ability to adjust the bandwidth, which of course is much better for mastering but I think overall this EQ still sounds slightly fatter than the console EQ, certainly on this track. You can either click on the numbers to keep it feeling like the original hardware unit or you can sweep between the High Frequency increments. This is great for fine tuning your EQ settings.
Key things to listen out for are the track sounding fuller and punchier from the saturation and brighter in по ссылке top end vintage eq logic pro x free the EQ lift. The area that has quite a few frequencies building up is around the to Hz mark but I have to be careful here remove too much and the track will start to lose its punch and energy. How did I know how to do that? First of all, I vintage eq logic pro x free cut the mix using the Dip dial and then simply looked for the frequency area that seemed to remove most of the unwanted low-mid energy that was negatively affecting the mix?
In your music when doing this listen for the mix cleaning up slightly and sounding brighter in the highs and fuller in the bass.
Once you have found the approximate frequency range removing just a touch will go a long way in the making of a bigger and punchier master. Notice how the music is ссылка на страницу and more focused but I want to give it a bit more edge by adding my favourite Logic Plugin the Bitcrusher. Easy 1. Now the mix is sounding tighter I want to bring a bit of the bottom end back in and tidy up a couple of things in the upper frequencies.
Notice the shelf adds a long curve, which is much subtler than one narrow boost. Let me show you by boosting it. By cutting here it will actually warm the track up a touch and make the music more balanced and allow the frequencies we want to hear come through much more clearly. Finally, the upper-mid frequencies of the snare were brought out to add more snap giving more presence and the 16 th note synth rhythms also get a lift because of the boost.
Finally a tiny lift using a wide high frequency shelf subtly brings forward the hats and upper frequency percussion. Why is this well as discussed in the Compression chapter Optos use light sensitive bulbs that glow brighter as the signal increases.
This will respond fast and add more aggression and punch to the music. This is purely so I can double check the True Peak value of the vintage eq logic pro x free.
Final comparison. Combining two together can increase the saturation even further and really makes the track sound bigger without having to over compress the mix.
Small and not so small EQ moves from both a colour EQ and more transparent EQ helped to shape the tonal quality and the compressor and limiter glued and brought up the mix to the final streaming level. Last Thought. Vintage eq logic pro x free is all about making choices, what do you want to achieve? Make the track fuller, bassier, brighter or more saturated?
Constantly ask yourself where do I want to take my music, what do I need to cut or boost, what compressor circuit would best suit this track and finally how loud do Vintage eq logic pro x free want the music to be.
With modern LUFS levels you have more room to create great music full of dynamics without having to compete for level. You have the tools to shape the colour and add harmonic distortion right within Logic Pro X to make full and fat sounding mixes. So enjoy using this great Analog Style Template! Email will not be published. Top Menu Blog. Logic Pro X Leave a Reply Click here vintage eq logic pro x free cancel reply. Comment Name Email will not be published Website. The loudness war To master or not to master?
Updates VI's. How loud can you go!
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