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Hi, <br>
<br>
Here's a youtube link where you can see it in action for some
mastering to add to the excellent run-down Snowman gave. Hope it
helps someone, <br>
<br>
Justin <br>
<br>
<a class="moz-txt-link-freetext" href="https://www.youtube.com/watch?v=GurMDoB55EI">https://www.youtube.com/watch?v=GurMDoB55EI</a><br>
<br>
<div class="moz-cite-prefix">On 04/01/2016 00:10, Snowman wrote:<br>
</div>
<blockquote cite="mid:009e01d14684$60f76b30$0401a8c0@jimPC"
type="cite">
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<div><font size="2" face="Arial">Well, I know this list is not
about such things. But, since we were buzzing a bit about
this Dynamic E Q plugging, and I was flagrant enough with mad
money to buy it, even though I don't really need it, I thought
I would jot down what I have learned about it in the little
time I have actually had to play with it, in case you were
curious, just to give closure.</font></div>
<div> </div>
<div><font size="2" face="Arial">This is not multi-band
compression, as we all suspected. Instead, it is a toy for
playing with the stereo spread of your mix, to make it sound
wider, or mor enarrow.</font></div>
<div><font size="2" face="Arial">It uses the concept of M signals,
and S signals. Such terms are actually common, I guess. But,
if you are not familiar with it, the M signal is the summation
of left plus right. S is left minus right. </font></div>
<div><font size="2" face="Arial">And, this tool is about making
dynamic combinations of m and s. When just running normally,
with all gains constant and at unity, you can dig up your
basic algebra, and use a little simple mathematics to return
to left and right, since </font></div>
<div><font size="2" face="Arial">m plus s,</font></div>
<div><font size="2" face="Arial">which is really (l+r) + (l-r) </font></div>
<div><font size="2" face="Arial">yields </font><font size="2"
face="Arial">2*left, </font></div>
<div> </div>
<div><font size="2" face="Arial">Likewise m minus S yields
2*right. </font></div>
<div> </div>
<div><font size="2" face="Arial">To support this, the tool gives
you two filters. You can choose the style and frequency for
each filter. The m signal passes through one filter, and the
s signal passes through the other, and they are combined at
the wet output. Yes, there is a wet/dry mixer as well.</font></div>
<div> </div>
<div><font size="2" face="Arial">In addition, each filter has a
trigger signal, which is a copy of the original input, with
it's own trigger filter style and frequency. So, now we
really have 4 filters, two for each section.</font></div>
<div> </div>
<div><font size="2" face="Arial">The trigger for the M section is
a mono signal, l plus r, passed through the M trigger filter.
The amplitude of that trigger output can be used to either
increase, or decrease the gain of the main M filter band. It
doesn't sharpen the filter, it just modulates the gain of that
filter output. </font></div>
<div> </div>
<div><font size="2" face="Arial">Likewise, the S section output is
modulated by the S trigger filter output. The S trigger input
is the original l minus r signal.</font></div>
<div> </div>
<div><font size="2" face="Arial">The output of each trigger is fed
into a circuit that gives you control over threshold, attack
and release. </font></div>
<div> </div>
<div><font size="2" face="Arial">You can solo any of these
signals, and will notice that the S trigger contains no audio
if you feed it a mono sorce panned to center, because the two
channels cancel one another out.</font></div>
<div><font size="2" face="Arial">But, when you pan left or right,
you start turning up in the S trigger, with a phase inversion
depending on which side you are panned to.</font></div>
<div> </div>
<div><font size="2" face="Arial">The basic idea for widening or
narrowing a mix, is that if the gains of the two stages, m and
s, are equal, the resultant output will be a regulard stereo
mix, with middle being middle, hard left being hard left, and
hard right being hard right, just like normal.</font></div>
<div><font size="2" face="Arial">But, if you change the relative
gains between the m and s sections, then only partial
cancellation occurs, or too much cancellation, in which case
you start hearing out of phase stuff, which kind of makes it
sound like it is behind you.</font></div>
<div><font size="2" face="Arial">So, they use the outputs of these
triggers to modulate those gains, and make the mix fluctuate
in sync, or sort of in sync, with the dynamics of the program
material.</font></div>
<div><font size="2" face="Arial">You can hollow out the middle,
and force more stuff to the sides. Or you can do the
opposite. </font></div>
<div><font size="2" face="Arial">It's a cute little tool, and you
can probably create some interesting effect with it, if you
are into that sort of thing.</font></div>
<div> </div>
<div><font size="2" face="Arial">But, you can also just use one
section, such as the m section, just as a regulared 2 track
stereo, and just modulate the gain of that filter by it self,
or in combination with the dry signal, to get partial
effects, like an acoustic guitar that gets a bit brighter
when a bass note is hit, just to keep the upper notes from
getting buried. Just set the m trigger frequency down in the
bass range, and use it to expand the m filter, with its
frequency set up high, and a wet dry mix to fill in down low
where the filter doesn't go.</font></div>
<div> </div>
<div><font size="2" face="Arial">Yes, this tool can be a nice
little single band compressor or expander if you want it to.
But, you've already got a few of those.</font></div>
<div> </div>
<div><font size="2" face="Arial">Anyway, for what it's worth, that
is what I know about it.</font></div>
<div> </div>
<div> </div>
<div> </div>
<div> </div>
<div> </div>
<div> </div>
<br>
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