11 - Dynamics¶
Fine tuned compressors, expanders, tremolos, noisegates, amplitude followers, mastering quality multiband compressors, 5.1 compressors… all here in this bank.
#1110 Amplitude Follower¶
Modulates the amplitude of one stereo signal with another stereo signal. The result is much like a triggered gate, except that the level of the modulated signal is ALWAYS proportional to the level of the modulator. Dual stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 4, 2 |
#1111 Auto V/O Ducker¶
Smoothly fades music (or sfx) before voice or other ‘priority’ signal. No pumping, unaffected by input level over threshold. Includes one-second delay. Switchable in, mono out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{D} | [G][P][K] | 96kHz | 2, 2 |
#1112 Bigger Is Wider¶
Energy below 200 Hz (bass notes and male voices) triggers stereo width enhancement. Completely compatible: mono listeners hear original signal. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{N} | [B][V] | 96kHz | 2, 2 |
#1113 Fm Trem¶
Fm version tremolo. Sens is fm sensitivity, triggered by a sum of input 1&2. Polarity selects trem direction. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{M} | [G] | 96kHz | 2, 2 |
#1114 Eight Compressors¶
Octal/8 mono compressors. master params override all 8 compressors. Octal in, octal out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{U} | [G] | 96kHz | 8, 8 |
#1115 Eight Noisegates¶
Octal/8 mono gates. Select the sidechain/trigger inputs at master menu. master params override all eight gates. Octal in, octal out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{O} | [D][K] | 96kHz | 8, 8 |
#1116 Omnipressor (R)¶
This ‘vintage’ emulation comes directly from the source. Richard would be happy to share with you his foray into ‘Vsig’, our graphics editing package. His journey ‘The Anatomy of a Preset’, as well as Vsig itself, may be down loaded from our web site at eventide.com. Mono in, mono out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{N}{C}{Y} | [G][P] | 96kHz | 2, 2 |
#1117 Perfect Trem¶
Retrigger-able fm tremolo. Audio can retrigger the LFO so downbeats can set angle of waveform. Audio can also modulate the LFO to allow a faster or slower rate during decay. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{M} | [G] | 96kHz | 2, 2 |
#1118 PsychicDuck DSP A¶
Fades down the ‘sub’ signal smoothly before the ‘main’ signal starts. For automated mixdowns and paging systems. NOTE: Runs in DSP A only! Switchable in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{N} | [K] | 96kHz | 4, 2 |
#1119 Eight Expanders¶
Octal/8 mono expanders. master params control all channels simultaneously. Individual channel controls override masters. Octal in, octal out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 8, 8 |
#1120 Octal Trem¶
Simple tremolo effect. Octal in, octal out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 8, 8 |
#1121 Ramp Up/Down 8¶
This preset gives you the ability to create audio fades in & out, either exponentially, linearly, or define yourown envelope. Octal in, octal out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 8, 8 |
#1122 SemiClassic Squeeze¶
A classic compressor topology is used in this algorithm. Has a knee and considerable overshoot. You can overload a little without harsh clipping. Dual mono in, dual mono out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C} | ~ | 96kHz | 2, 2 |
#1123 Top 40 Compressor¶
A classic compressor topology is used in this algorithm. You can overload a little without harsh clipping. Dual mono in, dual mono out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{Y} | ~ | 96kHz | 2, 2 |
#1124 Tremolo Lux¶
Tremolo with some envelope modulation. Has rate and tremolo depth. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
~ | ~ | 96kHz | 2, 2 |
#1125 Comp(3bandFIR)_S¶
Through the use of FIR filters this multiband compressor keeps phase coherent. Master params M_ offset allbands as seen in graph. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{U} | ~ | 96kHz | 2, 2 |
#1126 Comp(3bandFIR) Quad¶
Through the use of FIR filters this multiband compressor keeps phase coherent. Master params M_ offset all bands as seen in graph. Quad I/O
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{U} | ~ | 96kHz | 4, 4 |
#1127 Comp(4bandFIR)_S¶
Through the use of FIR filters this multiband compressor keeps phase coherent. Master params M_ offset allbands as seen in graph. Note that crossover frequencies are bound to each other. Stereo in, stereo out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{U} | ~ | 96kHz | 2, 2 |
#1128 Comp(5bandFIR)_M¶
Through the use of FIR filters this multiband compressor keeps phase coherent. This one fixed at 2 oct bands. Summed in, mono out.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C}{U} | ~ | 96kHz | 2, 2 |
#1130 5.1 Compression¶
5.1 compression. Notice that MASTER parameters do not control the LFE channel compressor. Use its menupage parameters instead. 5.1 I/O
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C} | ~ | 96kHz | 6, 6 |
#1131 5.1 Compr>3 B ParEQ¶
5.1 compression > 3 band Param EQ. Notice that MASTER parameters do not control the LFE channel compressor. Use its menupage parameters instead. 5.1 I/O
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{F}{C} | ~ | 96kHz | 6, 6 |
#1132 5.1 Comp(3bandFIR)¶
Through the use of FIR filters this multiband compressor keeps phase coherent. Master params M_ offset all bands as seen in graph. 5.1 I/O
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{C} | ~ | 96kHz | 6, 6 |
#1133 5.1 HyperTremolo¶
5.1 tremolo. Use LFO rate lower settings for standard trem effects, higher rates for lo-fi, pseudo ring modulated, distorted sound. Change the relative phase of the 4 trems using the ‘offset’ control. This will give a wider effect. 5.1 I/O
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{N} | [G] | 96kHz | 6, 6 |
#1140 St.Compr > EQ45¶
Stereo I/O, Compressor > EQ45
Eventide’s EQ45 is based on the Urei 545 parametric EQ. The high resolution and flexibility of its filters and the wide number of parameters offered by the user interface enable you to perform subtle or drastic changes to audio material without the unpleasant artifacts that can often result from limited dynamic range in hi Q filters (single precision arithmetic).
The EQ45 includes the following components and controls:
Three overlapping band controls covering 20 Hz – 16 kHz. Frequency Ranges:
Low Band: 20Hz–500 Hz
Mid Band: 180 Hz – 3.6 kHz
High Band: 800 Hz – 16 kHz
One multiband control covering the entire audio spectrum (12 Hz – 20 kHz).
High-cut and low-cut Butterworth filter sections, with attenuations of 12 dB/octave beyond their respective -3 dB points.
Cutoff Filters Frequency Ranges:
Low cut: 5 Hz – 1000 Hz, continuously tunable
High cut: 400 Hz – 20 kHz, continuously tunable
Accompanying Q and Gain controls for each parametric filter section. The Q controls support values from 1/4 octave to 2 octaves; the Gain facility allows attenuation and boost from -15 dB to 15 dB.
An EQ In/Out toggle. Click the object to enable it and to use the full suite of parametric filter; disable it to use only the high- and low-cut filters.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{F}{C}{O}{U} | [P] | 96kHz | 2, 2 |
#1141 St Compr > EQ65¶
Stereo I/O, Compressor > EQ65
Eventide’s EQ65 is based on the Urei 565 filter set, which allows you to adeptly de-emphasize or completely eliminate selected frequencies in an audio recording. This is accomplished through its dual notch and peak filters, which can be precisely configured using the fine tuning control. Designated frequencies also may be attenuated in gradations by using the notch filters in conjunction with the depth controls.
- Timbre Shaping
The EQ65 can be used to subtly shape the tonality of a note of voice or single instrument with rich harmonic content by tuning the notch/peak filters to the fundamental and/or any combination of the harmonics. By adjusting the relative levels of the harmonics, a wide palette of tonality is possible. As described above, multiple instances of the EQ65 can be ganged to handle any number of harmonics.
- Notching Narrow Band Coherent Noise
With its precision frequency selectivity and high Q, the EQ65’s notch filter is extremely effective at eliminating undesirable coherent signals such as hums and whistles. To do this, set the center frequency to the fundamental of the unwanted signal using the coarse and fine controls. Use the notch/peak shape selector to select the most effective notch shape. It is often helpful to select the peak mode to help zero in on the target frequency. You can audition the filter’s effect using the in/out switch. Signals with significant harmonic content can be attenuated by combining the pair of notch filters. Set one to the frequency of the fundamental and the other to the most prominent harmonic. If additional harmonics are present, you can gang additional instances of the EQ65 and tune the additional notch filters to the higher harmonics.
- Eliminating Broad Band Low Frequency or High Frequency Noise
The EQ65’s low pass and high pass filters have sharp roll-offs and extreme stop-band attenuation. This optimized design facilitates eliminating low-frequency rumble and high-frequency hiss.
- Simulations/Special Effects
The precise frequency control and flexibility of the EQ65 can be used to simulate distorted phone lines, cell phones, etc.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{F}{C}{O} | [G] | 96kHz | 2, 2 |
#1142 St Comp_DP 8GraficEq¶
St. Compressor > st. 8 band graphic EQ. Double Precision stereo 8 band equalizer, with ganged controls for each band. Choose freq, bandwidth (in octaves), as well as levels (in dB) Mast is an offset added to the boost. Stereo in, stereo out.
Classic character sounds smoother. Modern is definitely bolder.
Effect Type | Suggested Use | Max Sample Rate | In/Out |
|---|---|---|---|
{F}{C}{O} | [D] | 96kHz | 2, 2 |