This Plugin is an idea of a software dynamic equalizer.
Anyone who thinks they can do it and wants to start a collaboration, contact me.
mail to: firstname.lastname@example.org
DR-1 EQ. is a complete dynamic equalizer, capable of satisfying any need, from the most complex to the simplest, to obtain a corrective, creative and qualitative process.
It can work both as a static and dynamic equalizer.
It works on psychoacoustic principles of tone and dynamic really perceived, so as to obtain a processing that is closest to the sound we want to obtain.
Supports resolution up to 384KHz / 64 Bit FP.
The presence of different spectrum analyzers allows to improve the processing precision according to the type of work being performed.
The presence of 32 Floating Bands, including the possibility of making the frequency and the cut slope dynamic, allows to create unprecedented customizable equalization curves, adaptable to the input sound spectrum.
The best digital filters have been selected for this equalizer.
The ability to work as a FIR or IIR equalizer allows you to use the equalizer in different contexts (for example Studio / Mastering or Live).
It is possible to work in full digital domain or to simulate an analog processing.
This equalizer allows you to work with Cleaning, Leveling and Smoothing processing at the same time, so as to eliminate the use of multiple equalizers and dynamics processors to obtain the same result, significantly improving the processing quality, eliminating all the errors that occur in the inserting multiple plugins in cascade and also minimizing the required CPU load.
Thanks to the presence of numerous spectrum and dynamics analysis tools, it is possible to reach a precise and rapid level of processing, also useful in a live environment.
Why Use a DR-1 EQ.
DR-1 Equalizer is a working method that allows to reach a more precise level of audio signal processing and merit according to the needs of those who use it.
The standard dynamic equalizers work with a cut-off frequency, and fixed center frequency, but this does not consider the real movement and change of state of the bandwidth dynamically expressed by the instrument over time. The DR-1 filters can be made to work both at a fixed frequency and slope, and automatically by adapting to the incoming audio spectrum, and this brings a higher quality processing perceived much more transparent.
For greater clarity, a natural sound emitted by a lower level musical instrument occupies a more limited “perceived” tonal space compared to the same sound emitted at higher intensity (fig. 1), this is because many of the harmonics generated remain at low level and masked from perception by higher intensity tones, from the ambient noises, from the tone and dynamics of the other instruments in the mix. At higher intensity, on the other hand, there is also a greater perceptual emphasis of all tonal harmonics and this impoverishes the precision of equalization and basic dynamic settings set for example at low energy levels.
n.b. We talk about the difference in energy level naturally emitted by the instrument itself according to its dynamic and tonal variables, and not to raise or lower the energy level of a recorded sound.
In addition to this, especially in reference to a percussive and resonant instrument such as bass drum, tom and eardrum of an acoustic drum, the more you “hit” with force and decision on the beating skin and the more the fundamental takes on value compared to the resonant harmonics , obtaining a sound with a short attack and percussive perception, on the contrary the sweeter and more delicate the touch and the less the fundamental will be expressed, with an energy level closer to the resonant harmonic one, and for which, after adequate pre-amplification, translates on a perceptive level into a sound with a slower, resonant and harmonic attack.
At the spectrum level in plotting natural harmonic decay, in this example (fig. 2) considering Low Cut filtering, a higher fundamental level accompanied by a faster attack expression indicates a steeper natural cut slope, on the contrary, for a more harmonious and resonant sound, the cut slope is generally softer.
This indicates the need for adaptive processing, so as to allow the maintenance of a natural and transparent processing. For example, if I tare the cutoff frequency and slope to clean up qualitatively and transparently following the natural cut (Low Cut) of the instrument itself at lower energy expression levels, I will have a greater and in some cases undesired cut on frequencies and harmonics present when the energy value emitted by the instrument is greater (fig. 3), or in any case it will always be an averaged value if the cut and slope are positioned at an intermediate value between the changes in the tonal and dynamic state of the sound emitted by the instrument.
If I adjust the cut-off slope of the filter in use to a softer value to transparently follow the natural decay of the harmonic spectrum, I will have that, when the execution will be of greater intensity and in which the fundamental takes on greater energetic value than the harmonics, naturally having a steeper decay, there will be an unwanted cut in some cases of the energy level of the fundamental and of all those harmonics that go beyond the set cut slope.
This philosophy in a more complex and articulated way is also applicable to the Shelving and Parametric filters, and for this reason make the DR-1 a unique dynamic equalizer of its kind.
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