EQuilibrium by DMG Audio (@KVRAudio Product Listing): Overview: Massively flexible EQ suitable for all critical professional applications. Audio Engine can be incredibly low CPU usage, or incredibly high for mastering applications. EQ features pristine digital curves, plus circuit models of vintage EQs, and engineering filters. Completely reconfigurable UI with set-up wizard to suit to your. The latest Tweets from DMG Audio Mastering™ (@DMGmastering). DMG International Audio Services Department. @DMGGlobal Top Quality Mixing & Mastering at affordable prices! Contact: dmgmastering@outlook.com. London, England / Berklee Gr. Jul 08, 2009  Step 4 - Basic M/S Processing in Mastering. The main thing you will find useful during a mastering session is the M/S processors ability to raise and lower the level of. What you need to convert a DMG file to a PDF file or how you can create a PDF version from your DMG file. Files of the type DMG or files with the file extension.dmg can be easily converted to PDF with the help of a PDF printer. A PDF printer is a virtual printer which you can use like any other printer. Oct 28, 2011  Understanding compression is essential when producing, mixing and mastering. This post is a clear explanation and helpful overview of the topic from Mark Garrison's book Encyclopedia of Home Recording. 'The Encyclopedia of Home Recording puts those answers at your fingertips quickly and easily by explaining the tools, techniques, and terminology of the home studio in an easy-to-understand. May 24, 2015  An introduction to some of the features and functionality in the DMGAudio EQuilibrium EQ. Skip navigation. Why It is the Best Keyboard Sample. Stop the High Pass Filters Madness HPF.

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Whatever you look for in an equaliser, you'll find it in DMG Audio's astonishingly comprehensive Equilibrium.

In a world awash with plug-in equalisers, what makes us choose one rather than another? For some people, everything else comes second to the way an EQ sounds, whether that means accurately recreating some treasured piece of vintage gear or imposing the most transparent possible tonal correction. For others, it's the user interface that is of primary importance, enabling them to get the right results as fast as possible. Still others prize flexibility above all, seeking tools that can do everything from super-narrow notch filters to obscure resonant shelves.

DMG Audio's aim with Equilibrium is to satisfy all of these users, and it could be argued that this is a plug-in that offers unprecedented riches in every department. Ffx mag dmg and magdef hit points free. You don't need more than a quick browse of the manual to realise that Equilibrium is unquestionably the most heavily featured and the most flexible equaliser ever made, and not by a small margin.

Mix & Match

Following the likes of Waves' H-EQ and Sonoris's Parallel EQ, Equilibrium permits you to freely mix bands that use different EQ shapes and algorithms, but the menu on offer here dwarfs that available in any other plug-in I know of. Each instance can contain up to 32 shelving, filtering, notch or peaking bands, operating in series or in parallel. They can employ accurate models of vintage hardware EQ circuits, a wide range of digital algorithms, and idealised circuits that suffer none of the compromises inherent in analogue implementation. Up to eight channels can be processed simultaneously, in a variety of stereo configurations. The plug-in as a whole can operate in linear-phase, minimum-phase, analogue modelled and 'free phase' modes, with a variety of different trade-offs between ultimate sound quality, CPU consumption and latency on offer. In 'free phase' mode, you can configure the phase response on a per-band basis, and even manually adjust the shape of the impulse response that is generated for an individual EQ band. In 'free phase' mode, you have control over the phase response of each EQ band, as well as various options allowing you to adjust the impulse responses that are generated. Oh, and each instance of Equilibrium supports not only A and B settings pages for comparison, but C, D, E, F, G and H too!

There is also a great deal of flexibility about how all this power is accessed. You can have Equilibrium present itself as an old-school equaliser, where everything is controlled by knobs, you can enter precise values in text boxes, you can see your EQ bands as notes on a musical scale, and they can be displayed as graphical curves. Not only do these have the usual centre points that can be picked up and moved around using the mouse, but also floating tooltips that appear when selected, allowing you to change their shape, algorithm and so on. The same graph that shows the EQ curves can simultaneously display a wide variety of spectral analyses showing the input or output signals, or both, and can be zoomed to focus on a particular frequency region. There are also comprehensive metering options. From a visual point of view, the only thing you can't do is make Equilibrium into a simulacrum of a hardware rack unit or channel strip, which is fine with me.

In total, there are literally hundreds of configurable parameters affecting both the sound of the EQ and its user interface. This is a plug-in that can be modified on an unprecedented scale and level of detail. To give you an idea, the 'Graph' submenu of the GUI preferences alone contains 19 options, including minutiae such as how the background should be rendered, 'whether un-bypassing a group of bands can start a group drag”, whether the EQ bands are shown filled or outlined, and if the former, how transparent the fill should be!This is just a small selection of Equilibrium's GUI preferences.

Wizard Ideas

As you'd expect, the provision of configurability on such a level has the potential to intimidate users, but DMG Audio have put a lot of thought into making sure this doesn't happen. Equilibrium is thus the first plug-in I've ever seen that has its own Setup Wizard. This enables you to make broad-brush settings by answering a short series of simple questions such as whether you are expecting to run lots of instances in a busy mix, or whether you want ultimate sound quality for mastering. The settings the Setup Wizard determines can then be fine-tuned later through the plug-in's preferences. The Setup Wizard takes nearly all of the hard work out of setting up the plug-in to your taste, and in practice, there were only a couple of times when I found myself struggling to track down the correct preference to deal with some bit of user-interface behaviour I wanted to change. Equilibrium has its own Setup Wizard.

I can imagine that many people would want to employ different Equilibrium configurations almost as two or three different plug-ins, for different applications. You might, for example, want one set of display and DSP preferences for mixing and another for mastering. This is made possible by the ability to load only selected aspects of a preset: you can, for instance, recall the display configuration from a saved preset without recalling its actual EQ settings.

Every EQ In One

In short, then, Equilibrium leaves all other EQ plug-ins in the dust when it comes to features and flexibility, and DMG have done a good job of packaging this power in an interface that makes it accessible and reasonably straightforward to use. So how does it sound? Well, the only real answer is that it sounds like you want it to sound. Even in its least CPU-intensive mode, it's hard to fault the audio quality, while mastering engineers and other obsessives can tweak it to the point where its accuracy approaches the limits of what is theoretically possible in a digital algorithm. If character is what you want, its recreations of classic analogue hardware EQ curves seem very plausible to me, although, of course, there's no modelling of non-linear factors such as transformer or tube distortion, as you might find in a dedicated emulation of a hardware unit.

As an example of what's possible within a single instance of Equilibrium, one of my test tracks was an acoustic guitar recorded through a cheap DI box. Some sort of interaction between the pickup and the DI had resulted in an almost complete null at 800Hz; there were several nasty resonances in the 10kHz region; the low end was boomy and ill-defined; and, as is usual with piezo pickups, the mid-range was honky and in need of overall tonal correction.

The high-frequency resonances were very narrow, to the point where they wouldn't show up on the analysers built into some EQ plug-ins. Equilibrium's zoom controls made it child's play to exclude everything below 8kHz and focus in tightly on the problem region, whereupon I could introduce notch filters at the offending frequencies. At the other end of the spectrum, Equilibrium gave me a huge range of high-pass filter and low-shelf shapes to choose from, making it straightforward to achieve exactly the right degree of control. To address the hole at 800Hz, I had the option not only of numerous conventional peak or bell bands, but of DMG's 'flat top' shape, which can be adjusted to behave almost like a band-pass shelving filter. And, of course, I was equally spoiled for choice when manipulating the tonality of the mid-range.

But that's not half the story, and I could have gone much further. For example, a well-known side-effect of linear-phase EQ algorithms is 'pre-ringing', which tends to be more audible at lower frequencies. In Equilibrium, I could have set my high-pass filter to operate in conventional minimum-phase mode, to avoid audible pre-ringing, while using the other bands in linear-phase mode. Had there been a need for more gentle and musical tonal shaping in the mid-range, I could have combined a high-pass filter in series with peak and shelving bands run in parallel. And if one particular bass note had been boomy, I could have used Equilibrium's musical keyboard to track it down. I could even have set up multiple bands targeting the fundamental and the harmonics, and grouped them to be moved up and down with one swoop of a mouse. The possibilities are truly endless, and the only real down side to Equilibrium's unparalleled flexibility is the endless temptation to persist in tweaking settings, in the hope of making it sound even better!

Pros

• The most comprehensively featured equaliser ever made, bar none, and by a very long way.
• Highly configurable user interface and Setup Wizard do a good job of making its power accessible.
• Full support provided for surround formats up to 7.1.

Cons

• With this much flexibility on offer, you need to exercise a bit of self-discipline to know when to stop fiddling with EQ bands and make some music!

Summary

DMG Audio's incredibly comprehensive plug-in is far more than just an EQ: it's every equaliser you can think of, rolled into one.

information

Drawing on 50 years of EQ heritage, EQuilibrium is a custom-designed power tool for audio professionals.

User-adaptable design, a cutting edge feature set, built for tackling critical mix/mastering tasks.

This sets a new standard in EQ. See for yourself, download the demo.

• This could well be the greatest EQ ever made - it's certainly the most versatile and it's definitely revolutionary. Utterly essential. 10/10.

• Equilibrium leaves all other EQ plug-ins in the dust

• This is an incredible equalizer. There is no loss of transparency in the Equilibrium LP compared with MP, none whatsoever that I can hear. Equilibrium has changed all my assumptions about the sound of LP equalizers.

  Bob Katz

• Equilibrium is easily the most forward thinking and most important addition to my toolbox to date. Unparalleled flexibility, versatility and sonics make this a must have for everyone serious about the art of making records.

  S. Husky Höskulds

Overview

• Massively flexible EQ suitable for all critical professional applications
• Audio Engine can be incredibly low CPU usage, or incredibly high for mastering applications
• EQ features pristine digital curves, plus circuit models of vintage EQs, and engineering filters
• Completely reconfigurable UI with set-up wizard to suit to your specific workflow
• Extensive routing, grouping, channel and metering control
• Extensive analyser functionality, including 1/3 octave, 1/12 octave, spectrograph
• Even in lowest CPU mode, generates super-high-quality prototypes - clear undistorted top-end
• In FIR mode, Linear, Analogue, Minimum, Zero-Latency Analogue or even Free phase control
• 32 bands of EQ, Q 0.1 -> 50, +/-36dB range
• Each band can be Peak, HPF, LPF, High Shelf, Low Shelf or Notch
• In stereo, each bank can process Mid, Side or the full stereo image
• Surround support for channels groupings in DTS
• Fully parametric filters (high and low-pass), 6/12/18/24/30/36/42/48db/oct
• Windows VST, VST3 and AAX as 32+64bit, RTAS 32bit
• Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit

Sound

• Circuit models of vintage EQs from history, model numbers including: 4000, 3 (4 modes), 110, 550, 88, 32, 250
• Filters include: Coincident, Butterworth, Chebyshev, Bessel, Critical, Legendre, Elliptic, Allpass types
• First-order, second-order, vintage, and tilt shelves
• Classic DMG Bells and notches, with a +/-36dB range, and a Q range from 0.1 to 50
• Classic DMG Shelves which let you move the resonance above or below the curve
• Classic DMG Filters at 6/12/18/24/30/36/42/48 db/octave, sweepable resonance
• M/S processing mode, allows you to process Mid, Side or the Stereo image
• L/R processing mode, for independent Left and Right EQ
• Surround sound support upto 7.1 DTS, with channel grouping matrix, and per-pair M/S processing
• Per-band phase control, plus quick access to Linear, Analogue and Minimum phase modes
• Extensive Impulse Response design controls, including a selection of parametric windows, length and padding

Vision

• Flexible, modular, configurable UI
• Big, clear, antialiased graph
• Hi-res Spectrum analyser with multiple modes
• Range, to scale the EQ response, both +ve and -ve
• Frequency shift, to allow you to retune the response
• Configurable multi-channel metering, supporting K-metering and variable ballistics
• 8 banks of A/B
• Full preset management system
• Undo/redo
• Autolisten mode, for quick finding/adjustment of frequencies
• Clip LED

Windows System Requirements

• Vista / Windows 7 / Windows 8 / Windows 10
• 32bit or 64bit
• ProTools 7 or newer.
• A host that supports VST or VST3, such as:
  • Steinberg Cubase
  • Steinberg Nuendo
  • Steinberg Wavelab
  • Sony ACID Pro
  • Ableton Live
  • Cockos Reaper
  • Magix Sequoia
  • Magix Samplitude
  • AudioMulch

Mac OS System Requirements

• OS X 10.7 or newer, including Catalina (10.15)
• Intel Mac
• ProTools 7 or newer.
• A host that supports VST, AU or VST3, such as:
  • Apple Logic (32bit or 64bit)
  • Apple Garageband
  • Steinberg Cubase
  • Steinberg Nuendo
  • Ableton Live

Specifically not supported (might work, but I can't test/support these platforms): Windows 95/98/XP, OS X 10.0,10.1,10.2,10.3,10.4,10.5,10.6

1.59 -> 1.60

• Graph zoom correctly restored on closing and reopening the plugin UI.
• Fix for hanging on resume with Cubase/Nuendo ASIO guard active.
• Fix potential crash on instantiating mono VST3 with out of range analyser sources.
• Fix for band frequencies sometimes loading incorrectly until UI is opened when Extended Freqs enabled.
• Fix for no end edit call after switching processing mode (was breaking plugin bypass in Studio One).
• Improved undo of mouse wheel action.
• Fix font rendering on non-retina displays.

1.58 -> 1.59

• Improved HiDPI support
• Fix HiDPI fullscreen
• Support VST2 getEffectName for some rare hosts
• Fix playback of stale audio when leaving soft bypass in FIR mode
• Fix rare UI-doesn't-redraw-correctly bug with buggy graphics card drivers on Windows

1.57 -> 1.58

• Fix AU validation in old not-really-supported versions of Logic
• Reaper key entry improvements
• HiDPI support in Cubase and Studio One on Windows
• Improvements with discrete parameters drag/mousewheel
• Fix crash in EQuilibrium padded zero latency analogue mode
• Fix obscure bandstrips don't update issue in EQuilibrium
• Background compute thread tweaks
• Fix sync of bypass states
• Autogain stored with AB banks
• Keep band strip order stable when sorting
• Fix for recalculation issues with long IRs
• Fix disappearing meters

1.56 -> 1.57

• Improved zero-latency analogue mode with more accurate Freq response at high frequencies (older presets will not be affected)
• Move IR calculation into separate thread for smooth UI interaction with CPU-intensive DSP settings
• Fix frequencies recalling incorrectly when Extended Frequencies off
• Fix nodes jumping when dragging on keyboard
• Fix Q/Gain->Q/Shift values going out of sync when editing multiple selected bands
• Type 1 tooltip fixes
• Fix for control not losing focus after resetting parameter to default
• Fix autolisten of deleted band after deleting from bandstrip
• Ensure impulse response graph is refreshed when changing DSP settings
• Fix labelling of lowest frequency when deep zoomed
• Fix crash when setup window open in more than one instance
• Fix for frequency value being stored incorrectly if extended frequencies on and sample rate changed after creating band
• Fix crash when inserting on a mono clip in Wavelab
• Fix for bandstrip sometimes not appearing after double-clicking on graph to create a band
• Grouped undo when editing parameters for multiple selected bands
• Fix crash if default analyser feed set to invalid channel number
• Fix for bandstrip not showing after undoing delete band
• Fix full screen and window resizing issues in Reaper
• Fix bug with butterworth peak at low frequencies
• Pro Tools EQ curve now works
• Fix pop when exiting autolisten if in parallel mode
• Fix for not being able to edit phase of right/side bands in free phase mode
• Fix gain compensation issue with filters in digital+ mode
• Added global preference to disable VST gestures, for the case where begin/end edit calls to host are processed slowly
• Mac build now requires 10.7 or later
• Improve menu position when opening a menu would cause it to appear offscreen
• AAX Mac window focus improved
• Fix potential crash when file saving fails
• Fix potential crash when closing UI
• Fix crash with text entry on touchbar MacBook Pro
• Prevent Cubase/Nuendo right-click menu from appearing when right-clicking on a clutter bar button that accepts right-clicks
• Installer searches for existing VST plugins folder for 64-bit plugins on Windows if run for first time
• Correctly sign Windows installers with Codesigning cert
• Improve text and layout for Windows installers
• Improve install descriptions and logo for Mac installers

Best Dmg Equilibrium Hpf For Mastering Software

1.55 -> 1.56

• OpenGL improvements
• Reduce graphics overheads
• Improve text editing, tab and backtab commit entered value and select next/prev, esc cancels text editing
• Improve VST3 automation
• Import AU,AAX,VST3 tracknames
• Improve mousewheel handling on windows
• Improve keyboard handling,
• Improve automation resolution in Logic X
• Fix bug where Digital+Phase mode could cause channel misalignment
• Misc crash fixes (reaper multichannel, changing band type, creating/deleting bands, auto-sorted frequency)
• Parallel bands no longer pop when bypassed
• Fixes and improvements to preset/bank load/save
• Presets can now be reloaded correctly from the factory root folder
• Autolisten with fixed gain locks gain whilst adjusting
• Extra autolisten Q values of 6 and 3.
• New autolisten enable 'toggle' mode, (ctrl dbl)+click to engage and disengage (note: for graph nodes, mouse must be moved when engaging if 'Right-Click' set to 'Invert' or 'Bypass')
• Various other autolisten fixes and improvements
• Support Avid AAX EQ curve
• Fix for 'extended frequency range' causing incorrect frequency reload in Cubase
• Alt-click 'Autogain' to disengange and apply autogain to the channel faders
• Update pagetables for Avid S6
• Fix where AB onscreen would not reflect current AB bank
• Ctrl-click defaults to inverting selected band bypasses
• Improved support for different surround formats for AU and VST3
• Improvements to fullscreen behaviour (esc to close window. Passthrough of all other keys to host)
• Can bypass and delete nodes from keyboard view with (ctrl dbl)+click (bypass) and alt+(ctrl dbl)+click (delete)
• Improve scaling of gains when dragging multiple bands
• Fix bug with 'On Create' sorting being too enthusiastic
• Fixes for redo behaviour
• Fix crash when loading plugin in bypassed state

1.54 -> 1.55

Best Dmg Equilibrium Hpf For Mastering System

• Fix bug with ZL Analogue Phase mode + independent MS band shifting stereo image
• Fix pops when engaging/disengaging autolistening with Parallel mode active
• Fix 32bit Carbon UIs on OSX
• Fix bug with reinstatement of deleted bands when selected and bypassing a band.
• Fix bug with control-lock for deleted bands.

1.53 -> 1.54

• Fix crash with Cocoa UI closure.
• Fix crash whilst dragging free-resize UI.
• Fix UI size in hosts that were showing cut-off sections.
• Improve Fullscreen on mac.
• Fix crash with long buffer render DSP settings.

1.52 -> 1.53

• Rework Windows FullScreen.
• Fix invisible GUI bug.
• Fix bug with Preset menu.
• Default OpenGL to Off.
• Fix 'white squares instead of knobs' bug.
• Improve latency reporting for offline VST3 rendering.
• Improve Surround support in Reaper.

1.51 -> 1.52

• Update AU validation.
• Allow all AUs to use Cocoa UIs on 32bit mac.
• Improve speed of session recall for AUs.
• Fix mousewheel on 2nd screens.
• Compensate latency with soft bypass for long IRs.
• Clear 'Save As Default' button after click.
• Support text entry for multiple linked bands.
• Reduce Q for autolistening filters.
• Enable OpenGL.
• Allow disabling of OpenGL via pref - requires session reload.
• Fix bug with fullscreen in Reaper.
• Fullscreen opens on current screen.

1.50 -> 1.51

• Fix bug with AAX automation whereby discrete parameters could jump.
• Fix bug with mousewheel on windows to left of main screen on windows.
• Improve determinism of automation when rendering.
• Improve handling of OS load dialog for presets.
• Improvements for latency reporting both realtime and offline.
• Space no longer closes fullscreen. Use escape.
• Ensure Digital+Phase preference correctly propagated with 'propagate to all'
• Improve 'tooltips follow adjustment' preference.
• Improve channel linkage handling.
• Improve handling of 6db/oct APF/Elliptic filters.
• In 'always sort' preference, keep bands sorted after undo/redo.
• Manual updates.

1.08 -> 1.50

• Fullscreen mode.
• Free-drag resize mode.
• Parameter lock option with shift+alt+click.
• Render-DSP settings, can be chosen to be used for rendering.
• Autogain feature with 4 weightings and M/S balance mode.
• Imports banks exported from EQuality/EQuick.
• Digital+Phase mode.
• Autolisten with knobs and textboxes on right/alt-drag.
• Added preferences for keeping band strips in frequency order.
• Channel configuration can be selected by clicking channel strips.
• Option to propagate all UI settings to all instances in the session.
• Option to propagate all DSP settings to all instances in the session.
• Option to propagate all Render-DSP settings to all instances in the session.
• Per-instance MIDI input enable/disable (imports old global preference).
• Mousewheel for subtypes
• Duplicated band strips are positioned next to the original
• Fix bug with A/B in AAX.
• Fix AAX level meters.
• Fix analyser source reload
• Accept , in place of . for numeric entry
• Entering text values for channel gain respects linkage
• New bands are created matching the current EQ channel view
• Improved labelling of meter channels in surround
• Graph zoom/setup settings are saved and reloaded
• Yellow meter peak pref.
• Improved Simple/Precise number formats.
• Improved DSP for Flat-Top peak with wide Q values.
• Allow graph tooltip frequencies to be in note format.
• Preference for tooltips to follow changes rather than mouse.

1.07 -> 1.08

• Tidying and optimisation.
• Reduce saved preset sizes further.
• Fix crashes with undo/redo.
• Fixes for Sonar.
• Fix automation of discrete parameters for PT11 AAX.
• Fix samplerate issues in Wavelab for VST3.
• Remove AAX GR meter.
• Fix 'true Q' preference.
• Fix 'FX Start' preset.
• Fix rare crash on setup wizard completion.
• Fix recall of filter type buttons.

1.06 -> 1.07

• Fix bug affecting reloading of settings
• Fix issues with Windows 32bit AAX and ProTools 10

1.05 -> 1.06

• Experimental preference to allow extended band frequency range at higher samplerates.
• Optimise redraw speed.
• Grouped Undo/Redo.
• Fix rare crash bugs.
• Automating bypass buttons with shortcut in AAX fixed.
• Fix 4th order shelves in parallel mode.
• Fix pops with some band types.
• Fix 'fiddly' gain dragging issue.
• Fix Meter Ballistics pref.
• Improve handling of Avid control surfaces.
• Fix crash with loading corrupt presets.
• Fix obscure crash bug related to Analyser usage.
• Fix obscure UI bug with mouse in specific location while preset loading.
• Versioning display for binaries.
• Significant reduction in load/save times.
• All-round optimisation and tidying.
• Ceased support for 10.4 and PPC. 10.5/Intel now required.
• Improvements for RTAS versions.
• Fix samplerate related issues for AU.
• Improvements for AAX Automation.
• Improvements for redraw strategy on OSX.
• Improvements for UIs for AU+Cocoa.
• Fix mousewheel handling on Windows.
• Fix UI resizing in Live 9 Mac.
• Fix crash when closing UI for Cocoa AUs
• Move Windows presets to My Documents to improve Win7/8 usage.
• Added warning box if file save/load fails.

1.04 -> 1.05

• AAX2.0 and PT11 compatibility.
• Small manual update
• Fix Butterworth and 4kg shelves.
• Fix Logic Surround layout
• Fix tooltip fadeout.
• Fix spurious locked-in-autolisten bug.
• Added 8k2 peak..
• Added 4ke peak.. (brown/black CT in/out modes)
• Fix crash bug with AAX2.0 AudioSuite in PT11
• Added pref to show meter readouts as peak or live. (peak is default)
• Added new Units presets
• Preference to control compression for presets/session saves.

1.03 -> 1.04

• Fix SaveAs crash in Logic (crash in save/load under rare circumstances)
• MIDI Preference defaults to OFF for new installs.
• Rework selection. Now grouped bands form a group independent of current selection.
• Preference added to disable band linking completely.
• Fix keyboard note readout to stay onscreen.
• Fix trivial graphical glitch on windows.
• Don't create a submenu for Notch bands.
• Fix memory leak for AAX.
• Fix clicking with coincident/butterworth in Digital+ mode.
• Fix pops with 4kg lowshelf.

1.01 -> 1.03

• Fix display of SetupWindow menu
• Fix pops with VST3 version
• Fix VST3 surround support in Cubase/Nuendo
• Add Rectangular/Parametric window type
• Imported analyser curves get a different colour
• Preserve selective-load flags
• Normalize FlatTop window (to avoid level jumps)
• Fix Mac RTAS version
• Improve HPF performance
• Move graph numbers to highest layer
• Fixed crash on opening Setup Wizard
• Fixed crash on completing Setup Wizard

Best Dmg Equilibrium Hpf For Mastering 2

1.00 -> 1.01

Best Dmg Equilibrium Hpf For Mastering 1

• Windows switch to GDI (fix XP support and all manner of graphics-related oddness)
• Fix crash with Analyser menu
• Fix Alchemy and Pultec presets
• Fix Digital+ mode pops and clicks
• Fix Digital+ mode cancellation
• Rebuild preset menu on preset save
• Fix Windows RTAS and AAX versions

Besides adjusting gain, EQ is the most commonly used process in any audio workflow. Yet it's been years since there was a radical change in how EQs are designed. I've been a student of EQ design my entire career - I was even designing EQs before I started at Focusrite!

I wanted to make a bold statement about what the future should look like - about reclaiming all that was good about the past, and simply adding more.

The EQuilibrium design process started with thinking about what the different facets of an EQ are. We decided that the different facets are these: Curves, Audio fidelity, Interface, Routing. So we looked at each facet individually, and took them deeper.

The Curves are fascinating - I've spent years poring over schematics, collecting transfer functions to find out what it is that makes certain EQs so special. Gain-Q interactivity is one, Gain-frequency interactivity another. Or just interesting settings that bring some vibe. Understanding what curves and interactions have stayed with us over the decades tells us a lot about what we use EQs to achieve. Parallel and series configurations are fascinating too.

Audio fidelity is a real passion of mine - so I revamped the EQuality audio engine to allow a further layer of control; the IIR mode replaces Digital mode in EQuality - that was a bad choice of name, since the entire point of it is that it sounds indistinguishable from the analogue, whilst using the minimum possible amount of CPU usage. Digital+ now has a resizable +, in that you can configure the degree of compensation, and freely tune it. The Phase modes have been revamped entirely - now you can assign phase for each band independently, tune the windowing, and there are graphs for everything, so if you're a mastering engineer wanting to control ringing, you can see the ringing clearly, and what's affecting it!

Interface we've gone perhaps a little overboard with. There's really no grand consensus on how you want to interact with an EQ, so we made it fully configurable. Graphs, knobs, keyboards, textboxes, tooltips, the whole gamut is in there, and can be arranged to suit you. The degree of UI reconfiguration is so extreme we've built a setup wizard, which must be a first for an EQ.

Routing is interesting too. There are scant few fully surround-capable EQs, and it seemed silly not to support routing flexibility to its fullest. For stereo usage there's the simple familiar M/S or L/R configuration, but for surround there's full channel grouping support. We've added per-channel metering, with gains, phase, solo/mute and linkage, so you have half a mixer in there too.

For a few years, I've felt like it was time for a revolution in EQ - no more being held back by the bizarre requirement for rack-ears and photorealistic knobs. It's not photos of gear that bring vibe - it's the soul, the curves! So that's what we've built. A surfeit of functionality predicated on the curves of the greatest EQs from times past.

- Dave Gamble, 2013