Rather than compromising the full sound of the pad by just using a conventional highpass filter, I used Monofilter. Up to 10 color-coded parametric nodes can be used at the same time. When any node is selected, a detailed control zone indicates its filter type be it bell, or high or low shelving curve , its center frequency, Q or resonance in the case of a shelving equalizer, and current panned position. It is not like using a Haas effect or phase shifting. Related: , by Brandon T.
Stereoplacer window Stereoplacer finishes with an output meter to show clips and the ability to do a spectrum analysis before and after the stereo redistribution. Monofilter was especially useful in controlling recordings with unfortunate room resonances that led to certain bass notes causing modal ringing. It can be ever so subtle and not intrusive at all. Visually, you can see exactly where to set this point, and it is adjustable relative to frequency with the high width control. Stereoplacer 3 redistributes the stereo balance by frequency in a practical way. DynOne Dynamics Plugin Many multiband compressors take too much time to set up and tweak.
The Stereoizer 3 window, showing intensity of signal across the left-right field. I found this useful in troubleshooting stereo instruments and drum kit recordings that unexplainably went off-balance. Stereoizer has a great collection of evocatively named presets to choose from, and some of them can dramatically increase output level. It is neutral at 100 percent and collapses toward mono with values less than 100 percent or widens out with values above 100 percent. You can tempo-lock in subdivisions and you have a choice of sine, triangle, square or random wave modulation sources. Then you may set the low-frequency node below which all audio will be mono. Or turn a mono instrument recording into stereo, much bigger than ever before.
You can see how narrow the stereo field becomes in the graphic, just where it starts to open up into full stereo. I used Monofilter on a sustaining stereo pad that I had developed through a nice mix of stereo effects using reverb, multitap delays and chorus. I found it perfect for widening mono pad tracks where I had added stereo delays, chorus and Haas effects. This feature in 0 percent is true solo of just the frequency and its current panned location. For my music mixing, using this on individual stereo instruments is a winner.
DynOne has min-max values for attack and release, and applies variable timing values depending on whether the signal is transient in nature or not. Both processors are usable and adjustable separately or will function together. The Auto button automatically compares input to output levels and matches; I found this to work best when adding a Stereoizer effect late in my mix process—there was no need to reset or redo automation moves for newly processed tracks. . Or add depth to dry recordings without changing the tone or timbre? Unwanted phase inconsistencies are easily taken care of; low frequencies can sound more centered and solid within the mix. Brighter bursts indicate the focus of stereo energy; this is especially visible with centered mono signals. There is also a delay percentage that increases at 0 percent or decreases at 100 percent the relative positional level of the subsequent added curves.
DynOne has been designed with fixed bands so you can literally mix in the compressed signal. . . . . . .
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