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Hi I’m Dave Darlington welcome to my studio Bas hit recording here in New York City today we’re here to talk about the H bundle of plugins four components at EQ compression delay and Reverb I was fortunate enough to have a song by my friend Yoni Leviathan loan to me so we
Could demonstrate it and uh I’ll take you through the plugins and what I’m doing first let me play a little bit of the chorus for you are the days of change and sorrow the way to streets of gold you can hear it’s a pretty thick Arrangement we’ve got Drums bass
Percussion a bunch of keyboards a bunch of guitars we have some background vocals and of of course the lead vocal which is always the center of attention so we need to carve out some Sonic room for different things but these are live instruments so they’re going to have
Roominess in the sounds and and um we’re going to use uh the H plugins to surgically get in there and create the Sonic space we need and then we’re going to use the delay and Reverb to create an Ambience and a glue that knits the whole project
Together let me show you a little bit about how I set it up these dark blue ones are all the drums you can see I’ve got some EQ and some compressors on there and then the entire drum kit is running through a bus with a compressor on the entire kit
We’re treating the kit as one instrument so we’re fixing up a couple of individual mics and then we’re working on the kit as a whole on the base I’ve got some HQ that’s a little bit of what that looks like the green these green guys are my keyboards and I’m sending these two
Keyboards to an H delay right there quarter note and I’m sending this clavinet to an H Reverb right there for some Ambience these light green ones are the guitars the Rhythm guitars some sculpting there on the sound with some EQ a little bit of a delay of a 16th
Note Shadow on one of the guitars and then an overall EQ on the guitar bus to take the the whole family of guitars and sculpt it a little bit to sit it where it needs to be in the mix this is the lead guitar solo which I’m compressing fairly heavily at a
Pretty pretty high ratio and then I’m putting a little slap delay mixed in with dry with my dry wet mixing signal at about 19% here’s our background vocal chorus we’re giving them quite a bit of air at the top they’re singing the word ah so
We want to hear that that nice air up on the top and we’re getting out all that Rumble and boom of a layered thing where we have eight mics in the same room and all that low-end Gunk down there we’re just getting rid of that completely completely that’s being sent to a
Chamber here’s H verb with a a quick chamber dialed up a little bit short 2 and a half seconds and then the lead vocals are all being sent to a bus which is eqed and then compressed and sent to an H verb here which is a hall and sent to its own
Delay which is an eighth note so let’s go through the sounds one by one and hopefully you’ll be able to hear what these guys are doing sometimes I’m using them very subtly and then other times I’m using them more dramatically and I’ll try to boost them up a little bit
So you can really see what’s going on let’s turn off all the plugins on the drums and listen to what the raw recording of the drum sound like with just Balance it’s a good drummer in a good room he’s got his Toms nicely tune and everything it sounds pretty good there’s a little bit of a roominess to the sound a little boominess down in the low mids and then not quite as impactful as we
Might want for a rock song so on the kick drum this is my curve that I decided on on the kick drum by listening to it one of the great things about the H EQ which is what this is is the analyzer this button turns it on and off to show it or
Not show it so if I show it this is the input what the frequency response is on the input before the EQ that’s the yellow line you can see we got a ton of energy way down in the bottom that’s not really musical below 20 htz this blue line is what’s going on
After the EQ so you can leave them both on it doesn’t really hurt anything and you can comp you can compare the difference between what you’re actually doing with the EQ and and uh how how effective the EQ is being so as you can see we’ve got five uh bells and two
Filters and there are seven uh different models that you can choose in each um in each part of the EQ five analog ones from three vintage one us and two UK and two modern US and UK and then two digitals if you think about what was
Going on in the old days in the UK terms of console and in the United States in terms of albo EQ and then you think about what’s going on nowadays in America and UK you can kind of figure out where these models came from I don’t really care
About that so much what I really like is when you click through the different types of um model you see the Bell change based on the the way those particular units actually work for example let’s let’s use um this lower midband here the blue one which I’m
Scooping out a lot of mud as I scroll through these different models you see the Quee how it changes I’m not changing the amount of q but this is the way those Hardware components react to different uh the different models react in a different way so what I do is find
The frequency that I want to work on and once I get get that fixed and how much I want to attenuate or boost then I scroll through the different models and see which one musically works in the way I want it to in this case of digital one it’s
Called there’s a new filter which waves actually invented called an asymmetrical Bell filter and what this does is it treats the frequencies above and below in a different manner instead of expanding or Contracting symmetrical on either side it’s tilts a little bit which is great it’s really great on kick
Drums and floor TOS because you can boost the low end I’ll show you how this works this is the this is the Q setting for that module the purple module if I put it all the way clockwise it’s focusing on the high frequencies and chopping off quickly the
Lower ones so it’s it’s accenting the frequencies above and de accenting the ones below and the opposite happens if I go all the way counterclockwise so in the case of a fundamentally low instrument Like a Kick Drum or a TomTom I want that boost in the fundamental
Frequency but then I don’t want I don’t want to add extra rooming and low mid mud so the fact that that slope is really dramatic going into the higher frequencies is super for that this kind of application watch the analyzer show us in the um low end how this is accenting the
Fundamental there’s two fundamental notes right here an octave apart and you can see the purple node is in the higher octave but then right here we’re really getting rid of all that roominess and boomy sound very quickly and that’s because of the Tilt you see that curve changing like
That has the opposite effect in vocals if you want air on your vocals without the mid-range harshness you tilt it the other way now you’re boosting that satiny part of the sound and getting rid of that harsh bite so digital one has that great asymmetric Bell filter which
Is a it’s a real marvelous thing so that’s my uh EQ curve for the kick and then I put a compressor on it here’s here’s H compressor really simple and elegant to use you you dial in your threshold and your ratio like any compressor the the meter will show you
The input the output or the gain reduction I like to watch how much I’m compressing so if I crank the threshold up I’m compressing more the great thing is I have a mix control which is a built-in parallel compressor if I turn it all the way dry
I’m not compressing at all if I turn it all the way left it’s only the compressed sound so I can work on the sound with it all the way up now you hear that that that’s really particularly squash especially the trents but then I can dial it back I can
Let some of that natural decay of the kick drum come through somewhere about there and I have a makeup gain stage here at the output there’s uh four analog models which are again color switches they’re modeled after the various types of um analog compressors and and the way they
Treat uh harmonic information so once you get it compressed the way you want it you can scroll through the colors let’s put it all the way up so you can you can hear different amounts of boominess and resonance in the kick as I cycle through these different models less boomy
I kind of like that one and then I mix it in about 40% the attack and release controls work pretty much as you would expect if if you have the attack a little bit slow more of the trents come through but it doesn’t compress quite as quickly and
The release in the same way you can you can have it hold onto the sound longer or you can have it release quickly and be prepared for the next attack here’s an interesting um I condition is that you can sync your release to your host
Um bpms or you can dial in your own bpms if you want it to be different than your host and then the release amounts are are um indicated in musical terms for example a 16th note or an eighth note this is really really pretty good on things like sequencers and um Echoes if
You want to have your Echoes be somewhat compressed but be released for the next incident of an echo it’s kind of cool to have it um BPM based but in the case of a natural Acoustic sound I would probably stay with a uh millisecond based setting the punch knob is the is the
Last knob that we see and that has to do with allowing trents to come through even if you’re attack is set really quickly so if you want to have a quick attack because you need that compressor to hold something in line but you’re losing some trents you can dial them
Back in a little bit with the punch knob you can hear that beater you can hear that beater really really getting through there so uh if you ask if would you use two different H plugins on the same sound of course I would I would use an
EQ and a compressor on on many different sounds here’s our snare drum here’s my EQ curve I’m taking a notch out which has a which was the ring in the snare or possibly the mic and I’m adding a little brightness let’s hear where that ring Is pretty easy to hear you can you can boost it way up and then scroll through the Frequencies there it is once once you find it just dial it back out you notice below the frequency um graph there’s a keyboard a lot of producers and musicians think in musical terms they’re they’re not thinking engineer wise in frequency terms so the guitar player i’ say man whenever I hit
My a string it’s really it’s too resonant and too boomy so you can go right to that a right there and and and and dial in on his U problem area and communicate with your musicians and your producers in real musical terms so that’s a bonus of
Having that keyboard under there just to give you another way of thinking of the same fundamental processes so here we have our analog stage you can also analog you can also model different analog um settings in the same way as the um EQ nodes themselves but this is
The output stage so it’s Mo it’s modeling the output amps of the different older um eqs and the harmonic Distortion that that might inject into an overall sound and you also have a mix control of that you can control the Distortion up to 10 times the amount of
The original model which can get very interesting you don’t hear it so much on a snare drum but you but you can really overdrive things that way or you can just turn it off and not not model the output but model the various analog EQ stages then I would I would also
Compress the snare drum same way as I did the bass drum maybe just dial in a little bit just dial in a little bit to give it some smack you know a little bit of of I you see I have the limiter button engaged here that makes it 100 to1 or a
Brick wall compressor so I’m I’m actually hitting the compressor pretty hard but I don’t have that much of it in the sound only about 30% uh on the overhead mics I’m just doing a little cleaning on the high pass filter getting out some of that dirt if we look at the
Analyzer since those mics are up high off the symbols they’re getting a lot of room Ambience which really can tend to build up down there below 50 you know it’s just noise that you don’t really need in your mix doesn’t hurt the symbols in any way to take that out but
Look how much of it I’m removing on the graph the the difference between the input yellow and the output blue and again you can scroll through the various models and you’ll see the knee of the rolloff Change so I do that by ear I just find the one I like and and then I go with it and I’m boosting a little bit of the uh the upper end you can look you can see from the graph where the fundamental high-end energy is and use that as your
Starting point for a Boost I am overdriving the channel a little bit so if I and the trim is telling me that I’m overdriving by point8 DB so if I just hit that it comes down now I’m not now I’m not clipping anymore all the all the drums are running through this drum
Sub which is really good if you if you need to EQ your overall set I I found that the recording was really pretty good so once I cleaned up the kick and snare and the overheads sounded great to me so I’m just recompressing the entire kit as a single instrument thinking of
The drum kit as an instrument not a bunch of separate microphones these are the days of changeing Sorrow ping the way streets out go so we haven’t fundamentally changed the tone of the drums but we’ve cleaned them up and made them much more legible and more impactful and they’re really
Cutting through all those guitars and things on the base I’m eqing uh taking out a little mud adding a little top end where the fingers are and then rolling off a little bit of the noise that might come from from the the um slapping against the Frets
Are and again the the analyzer was super helpful to me in finding out where those points were that I needed to work on if you I’m going to boost this upper mid-range band so you really hear the fingers you can you can see from the graph where that point is
Is it makes it makes your job a lot easier over here on the keyboards I’m not doing any eqing because these are digital keyboards but I am using a a delay to give these guys some um some movement in the mix let’s see what the delay is it’s a it’s a quarter Note okay so I’m I’m killing two birds with one stone here we have a sequencer that’s sequencing in cord or not notes so I put a quarter note delay on top so that the delay is happening right on top of the previous note actually making a
Chord it’s building up all the notes as he plays them and they sustain in a chord the same delay works great on the lead sound as a more soaring and theic treatment so that’s exaggerated let me pull that back Down way so that that that delay is really helping them glue in without getting in the way because it’s right in time to the BPM of the song There’s still plenty of room for all the other instruments to be Heard okay moving on Down the Line we have a clavinet here which I felt was a little bit dry so I added a little bit of H verb let’s see where we can find where it’s playing here we Go I’ll exaggerate it’s actually a pretty long space but I don’t have it up that loud in the Mix so here’s the first time we’ve taken a look at H verb and and it comes up in what they call collapse mode which is just your basic parameters and things you need to get to quickly to set it how you might want it and uh I’ll go through what’s this
Graphic is showing us here of course this big triangle is our is our decay in this case it’s a uh it’s a very linear Decay but there’s a break point here which they call a crossover point where you can you can exaggerate the sustained
Part or the Decay part so you can have a very long sustain followed by a quick delay see if I can draw that in quickly so it cuts it cuts off very Rapidly after two seconds actually what we’re hearing is output Echo you here it close off real quick like that that’s what this breako does so I find that very helpful in terms of not having my Tails being too long and smearing everything together if I don’t need that so I I use this quite a bit it
Often comes up almost linear but I like I like to boost the verb you get the get the real effect of the verb without the extra tail these white indicators here show us the early Reflections the slaps off the side of the room and those are the parameters for those are available
In the extended window the expanded window so we’ll get into those in a minute we also have a pre- delay which moves the Reverb off of the main input Sound by milliseconds so you can it can be very dramatic hear that Delay usually reverbs you want them to separate a little bit from the main sound but not crazy so they don’t sound completely distinct so I like something around 30 or 40 the buildup is the actual attack of the Reverb similar to this uh a crossing point here it’s
Really like you have an adsr almost like a synthesizer on your verb so you can have it build up slowly let’s let’s really exaggerate that and see see what we Hear he it Growing because I’m having a very slow attack that can be great to make some wild effects in like eating M and stuff you can have the Reverb come almost out of nowhere that’s that’s the buildup which I think of as a attack and then the size
Of the space is how far apart these early Reflections are the farther apart they are the more you get a sense of larger space you can control the balance between the early Reflections this is only early Reflections I’m going to have to send a little more on this so we can hear it
Better so that’s only the basement sounds the sounds of the walls of the basement banging back and forth and if we mix it turn it all the way the other way let me go back to my original Ambience we turn it all the way the other way we only have the
Tail with no slapping of the hard cement walls in in our room so we don’t really get a sense of room that way but we get a sense of Ambience with a long tail and you know somewhere in between is is probably the best and right setting we also have input Echoes which
Gives us another iteration of my input sound and as many times as we want and we have output Echoes which Echo the outputs of the verb it layers the tail on top of itself which makes it even more diffuse and more glued together and there I’ll show you some controls for
That later when we get down into the vocals when we um expand the window that was a quick overview of H verb what else is going on here’s some guitars these are the Rhythm Guitars so this is our main power guitar oh no this is this is our arpeggio this is our main arpeggio guitar I’m just scooping out some dirt in the bottom and I’m adding a little bit of 400 here kind of that Beetle guitar sound that low mid
To really help me fill up because it’s a guitar-based song so I want this to be one of the Stars you can see how much I’m filtering out the dirt and you can see the fundamental frequencies that I’m accenting down here in the lower mids this guitar is doing this
That’s our Rhythm guy I just put a little slap on him a little 16th note slap you can see I dial it in and if you turn the if you turn the delay knob you’ll see that it’s set musically because I’m locking it to my
Host bpms I can have I can dial in my own BPM number or I can do it in milliseconds but host is very easy because I know I want it to be rhythmic in this case I just want to put a little Shadow on him so I’ll show you via the dry wet Knob but I don’t want to hear it that much I just want a little bit now he doesn’t sound like he’s in the home studio he sounds like he’s in a big stage let’s see where we are so far with our song These are the days of changing srow So everything’s fitting together pretty well we’ve scooped out a lot of problematic frequencies with our EQ and we’ve um compressed some things to give them more impact but we haven’t sucked the life out of them we have a pretty big full Rich sounding band we have to
Add our guitar solo which is here of course we’re going to compress that so it’s really sails above above everybody let’s see where that comes in That’s Right Here solo it so you can see I’m compressing that pretty hard because I want it to be even
I want that I want to get more sustained like a stompbox compressor and I’m modeling it on analog model number one and I’m also mixing it in pretty dramatically almost 80% % might even go higher as far as Ambience for that guy he’s already got a little bit of spring
Reverb in his sound so I didn’t really need any more Reverb but I needed a delay I’ve already used a quarter note on my synths I’ll probably use that on my vocals I needed a different musical uh uh amount a dotted e to to fit in between so we hear those echoes
In between where other guys are playing uh uh uh uh uh that’s going to fit in between our basic 44 beats so you’ll be able to you actually want to hear this echo in this case we want to hear the Effect you hear the trail ups at the end very dramatic and the great thing about H um delay is these filters I’m high passing at 147 low passing at 3K so I don’t have a lot of extra tape noise and Rumble got a nice mid-range Echo that’s
Very warm and sits just right in the mix on to the background vocals okay so I’m eqing them a little bit let’s hear it without the EQ it’s not bad it’s a good mic obviously but we we need this to sit in we’ve got five or six guitars we’ve got keyboards
We got a bass a loud drum kit we we only need frequencies that aren’t uh in the other instruments so that we can actually hear them without them being too loud so I’m scooping out a little bit of middle cleaning out all that ugly bottom and I’m really boosting the high end up
Here it sounds too much in Solo but in the mix your ear tells you that there’s background vocal singing a there because we hear that air up on The Voice as far as an ambient treatment for them I thought maybe a 60s kind of a echo
Chamber thing would be good so I I open up H verb and I went to uh my presets and there’s all kinds of Chambers here there’s a default chamber and there’s also a bunch of stuff made by great Engineers all around the world so pick a preset dial in the
Setting that you might want in terms of time whether your Tempo is quick or slow and off we go let’s hear the verb it sounds like Emi ABY Road Studios they’re sending it down into the echo chamber and miking it back up it’s really great and it also makes them feel bigger in
The mix even though they’re not any louder because we have that mid-range kind of a cement Echo chamber Vibe going on with them just great I didn’t really have to tweak any presets at all I just I just set my length how I wanted it and
Off we went in the lead vocal of course we’re eqing solo this guy so yeah I’m not I’m notching out of a problematic frequency here 2500 we’ve got a rogue uh playing somewhere are days of change srow so that’s that’s a pretty ugly frequency which I found by scanning and you can also see it in the yellow um analyzer these are the days of change and sorrow so we just we just
Take it right out now on the high end here’s a good example of a use of our asymmetrical Bell filter in this case I don’t want these harsh upper mids I want I want to get rid of them quickly but I want to add more above where my frequency point is
Up in the airband and then I’m just rolling off a little bit of his sibilance S’s and T’s up here 18K not not really that audible so that’s the EQ then I’m compressing and parallel I’m not I’m not squashing the life out of him but I’m mixing the Compression so I’m using the compressor rather strongly 6bs even on a a normal vocal level but I’m dialing it into his uncompressed sound so he has life and body and and emotion but I also have that core that’s going to cut through the mix we got a lot of stuff going on
In this mix are of an as you can hear as far as Ambience I actually put an eth note on the base on the Basse on the I put an eighth note on the vocal and I’m rolling off a lot of the bottom of the echo so the echo’s
Actually fairly bright uh actually a bell in the middle upper middle let’s hear what that sounds Like it’s almost a little bit of a radio tone to the voice but that Echo helps it cut through and also allow you to actually hear the echo like a slap Echo like an Elvis Elvis type Echo change in terms of verb I I pulled up a hole these
Are now this is where we can get in a little bit into the the really the guts of H verb there’s so many more parameters down here that you can fool around with let’s just uh go in order here this is this module here is a representation uh
With knobs of what this graphic thing is showing us you can see if I move the time where the crossover point is the gain of the crossover point and the density is this is the actual volume of the echo Tail as I was saying earlier we have
Input Echoes as I turn them on you can see discrete mean how clear are they one from the other I think of it like a filter less discreet means they’re more covered sounding and not so audible more discreet means they’re more independent and then how much they’ blur into the
Tail you have some uh pull down choices here in terms of how many and where they are in terms of the music and how they build up there’s so many there’s so many choices that it’s it’s hard to settle on one because they all sound pretty good and different music requires different
Treatment so you can just go for it and be experimental the input Echoes are working on the input sound so instead of saying these once he’s saying the the the these but the the second and third these are softer than the initial one of course what that just does is it blurs
The input to the echo a lot of Engineers would put an echo before their reverbs and in the analog days because it was a trick to make the re the Reverb blend in better with mix but we have it right here already up so all you do is dial in
The amount and and off you go then there’s output Echoes which is different because these are echoing the Tails it’s taking the tail and layering it on top of each other by as as much or as little as you say the size would be the time in between the amount would be
The volume and and tone is self-explanatory bright bright or dark and you turn you toggle the input and output Echoes on here and they’re represented on the graph graph up there pretty simple then we have our compression module here which has three modes duck comp and
DS comp is the simplest one it’s it’s working on the output so it’s compressing the output of the verb to hold it in place and maybe keep it sustaining a little bit longer it’s as if you stra a compressor after your Reverb return and the threshold of course will determine what level it
Kicks in at and the recovery is is like a release time how much how how much time does it take before it’s ready to accept the next input ducking is input dependent compression like any ducking would be so it’s ducking the re it’s ducking the Tails down when it senses an input and
Letting them release when the input stops see if we can hear That these are the days of change and srow P you can hear it I put it on very dramatically with a quick uh recovery and a and a super low threshold so you can hear as soon as he stops the Reverb comes up this is Extreme you won’t want it to do that but you might want to get it out of the way of the vocal Itself so you only are hearing it in the spaces it’s one technique to have a long reverse without taking up too much room and finally the dser works it works on the Reverb but only when the input has high frequency information like S’s and T’s and stuff so you can keep your vocal
Eqed nice and and clear and air on the top without worrying about if your tails of your Reverb are going to have that spitting Sound you can hear there’s not so much in the in the tail now this is great on ballads where there’s a a lot of time between the words and the singer might say something with a really strong s you don’t want to be distracted from the music with that s ricocheting around in
Your long Reverb tail so this will keep the tail nice and warm but still audible these are the days so I really I really like the DSR I find that extremely useful in um in treating my Reverb I’m able to add more Reverb without being it without it being distracting
Uh let’s see here’s our here’s our early reflection settings just the graphic displays of the different types of early Reflections and what they might do there’s 10 10 different choices there and you have to of course have the mix set so that some of them are on if
You want to see them it changes the shape of the basement as I like to think of it below that we have the EQ section but just a basic EQ for band Q two sh um two shelves and Two Bells which you can sculpt the return I have a really big
Boost at kind of low mids just to give it a a warmth because his voice is cutting very well so I needed to build up a little warmth down in the lower end without eqing his voice down there so I just want the ambience to have that warmth down there that’s my Reverb
Setting and you of course you have gain and frequency and Q for the Two Bells let’s see over here with this this we call the modulation area so we have damping which is quite common on very on most reverbs this is the frequency on
The x- axis and the time on the Y AIS so the zero point means that whatever time we have set here those frequencies would Decay at that time 3 3.24 in this case now the high frequencies above 4K are decaying quicker and we can actually make the low frequencies Decay longer
Let’s see if we can hear that these are the let’s make it a little bit longer so we Can you hear the Lows a much darker sound as opposed to this which would be a much brighter Sound so that’s extreme examples of what you might use this for you could use that as a special effect or you might just want to warm up your whole thing and and get rid of some of that sizzly part of the tail that’s what the damping is
For we can also hear that they they give us a little test button here this is interesting they call it waves noise which is not pink noise not white noise but a certain selection of frequencies designed to show off the Reverb kind of kind of like a snare sound
Really so that’s if you want to hear without running your um song If you want to hear what the the dampening might be doing that’s really obvious what it’s doing there right and here we have the Boost in the highs so that gives you a really oral
Indication of of what’s going on and then you have to interpolate that into what it would be doing on your program material there’s also an envelope for the Reverb with two points attack and release uh let’s see these are resonant resonant filters let’s put the mix all the way
Up yeah we can hear it kind of a mid-range mid-range filter but the frequency is changing over time kind of a one shot LFO you you can turn it upside down too actually that was flipped that’s a midband the third um third modulation tool is an LFO just just an
Oscillator that can that can do some wild effects H let’s see think we can make it bigger oh here’s the rate okay pretty cool you can also sync it to the BPM so I wouldn’t use that on a vocal but I might use it on a clap or a snare
Or a kick bomb in an EDM record as I as I go off into my breakdown might be a fantastic effect then we also have um other modulation on the um inputs and outputs am modul ation is volume like a tremolo this is working on the input side so if
You have like a sign you could hear it really hear it with a sine wave or a synth or a power cord or something let’s say we had a power cord to going through the Reverb we could make that power chord have amplitude modulation G as opposed to G let’s see hard to hear but you hear the frequency modulation which is on the output side that’s that that filtering effect that we’re getting now that phasing because the frequency of the output is being modulated with an LFO that you can clearly hear so that’s program dependent you know you have to
Choose that wisely on what you’re using it on it might be good on a more sustained kind of a thing maybe a roads or an organ something like that something that has a long sound that you can hear it moving over time as opposed
To a short sound or a vocal which is is changing quite rapidly and finally here in the global output section we have drive which is is driving the uh the amplifier stage of the Reverb kind of modeled after um old reverbs where you could overdrive them and actually go into the red and
They would add harmonic Distortion and there’s an analog um model similar to the um NLS console modeling it’s just like you’re running it through the filters and opamps of a of an older analog Reverb and then we have a digital model which actually is a bit reducer you see 12bit and 8bit which
Makes it more like um those old video game kind of reverbs it’s here it’s much more grainy and less less smooth so that would that would be good as a special effect and uh that’s pretty much gone through everything there’s one other thing I wanted to show you in the EQ
Section which I forgot let’s go back to a stereo EQ here okay this is my guitar bus so we have guitars panned around different ways and now we’re eqing the whole bus so we have a left and a right component and it’s stereo instantiation of the plugin we have an extra mode section
Which you don’t have in the mono let me find a mono open it up simultaneously there we can see so you see here in the stereo uh area is extra stuff that we don’t have in the mono that’s because you can this little chain means they’re linked the left and
Right is linked if I move if I move one of the noal points both sides are moving together if I unlink them then I’m only doing the side that’s highlighted so in this case let’s take some mids out of the left side and then let’s boost them
Up on the right side so you can see I’m doing two completely different it’s like having two EQ modules in one preset working on the same sound so for example a piano on the left side where the left hand is if you if you’ve miked it with a stereo pair and some
Configuration um you might want to take some tubbin out of the left hand and leave the right hand plain and you might want to accentuate the melodic parts of the right hand but not so much in the left hand so that would be a good example or an acoustic guitar where you’ve miked
The the hole and the neck sometimes you might want to take some of that clickiness off the neck side without hurting the warmth of the uh the box side so that would be a really good example of when I would use um the stereo EQ separated split left and
Right there’s one more mode here called Ms if you know what midside is midside is when you have a middle mic and then you have a figure 8 mic with the left and right information which is mono but then you bring it up in Stereo flip one
Side so the more of the out of phase middle information that you include makes the image wider in this case of the EQ what it means is one side is affecting the side elements of your of your program and the other side is affecting the middle so for example
Let’s say our let’s flatten it out and go to midside let’s say in the middle we wanted to bring our voice up like that and get some boominess out of this an extra too much stuff in the middle something like that maybe a bell but then on the
Sides we might want to bring up those symbols or those background vocalists so you can you can treat the mids and sides completely differently it’s really good for mastering if you need to do some stuff to the outer portion of the of the sound field and you don’t want to affect the middle
Portion or vice versa if you want to affect the middle portion without affecting the outer portion that’s when you would use the midside uh environment so the basic premise of the H uh bundle is that we have the best of both worlds we’ve got all these great
Analog modules we can dial in the different tone colors and stuff that are modeled after the old reverbs and stuff but we have all the all the good workflow elements of our modern digital world where you can just grab a nodal point and and and fix it and you can you
Can see great graphic representations of stuff that you never used to see in the analog world and you can save your settings you can go to the presets that the some of the world’s best Engineers have made for you so they’re elegant they’re extremely potent you can really
Get under the hood and dig in if you want to get your hands dirty but you don’t have to you can just grab them and go dial up a preset and um it’s my go-to toolbox I I really wouldn’t want to mix without them La