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Related Manuals for SPL Passeq
Summary of Contents for SPL Passeq
- Page 1 SPL Analog Code Plug-in ® Manual Passeq Dual-Channel Three-Band EQ...
- Page 2 This document is the property of SPL and may not be copied or reproduced in any way, in part or fully, without authorization by SPL electronics GmbH.
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Page 3: Table Of Contents
Processing Examples Classical instruments and their frequencies The Basics of Frequency Filtering Frequency and Energy, Tone and Sound Sound Correction and Sound Design Frequency Filters, Filter Types Shelf Filters, Peak Filters, Bandwidth M/S Basics M/S Stereophony Passeq Analog Code ® Plug-in... -
Page 4: System Requirements And Compatibility
For details about system requirements and supported platforms or formats visit http://www.plugin-alliance.com/compatibility MAC and Windows Installation 1. Check for the latest plug-in software version before installation: http://software.spl.info/download 2. Execute the installer file and follow the instructions. Passeq Analog Code ® Plug-in... - Page 5 ® SPL Analog Code Plug-ins While SPL hardware products have been fascinating audio pro- fessionals from home studio owners to mastering engineers in the world’s most renowned facilities for years, the need for this technology in the form of plug-ins has also been an ever-growing demand.
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Page 6: Special Features
Introduction The most powerful passive EQ system ever The original Passeq hardware is the first passive EQ which pro- vides three separate frequency ranges for both boost and cut stages. One famous, if not the most famous, passive design was the Pulteq EQ from the decades of the 1950’s and 60’s. -
Page 7: Operation
Mono, stereo or multi-channel operation The Passeq plug-in can be used either for mono or stereo opera- tion. You can also use the Passeq as a „Multi-Mono“ or multi-chan- nel plug-in, as long as your host program supports this function. -
Page 8: Layout Of Operational Elements
Overview Layout of Operational Elements Initially one might be struck by the circular arrangement of the Passeq’s control elements. As unusual as this first appears, the more understandable and clearer this layout becomes when one looks closer. Along with the fact that we simply like this design from an aestheti-... -
Page 9: Allocation Of Frequencies
This is “S slope EQ-ing” at its best, and in this discipline, the Passeq is a world champion in both options and results. Passeq Analog Code ®... -
Page 10: Control Elements
Because modern productions often demand a definite number of choices in an engineer’s options for achieving an optimal result in bass emphasis, the Passeq has been designed with a very complete set of low frequency options to insure real- izing these goals. -
Page 11: Mf-Mhf Cut And Lmf-Mhf Boost
Control Elements Mid Bands MF-MHF Cut and LMF-MHF Boost The midrange bands elevate the Passeq to a com- plete combination of filter options that classic passive designs do not offer. Both midrange bands exhibit peak filter characteristics, that is, when viewed from... -
Page 12: Mhf-Hf Cut And Hf Boost, Hf Boost Q With Proportional Q
Control Elements High Bands, Setting HF Boost MHF-HF Cut and HF Boost Passeq’s high frequency bands have a different layout for the cut and boost ranges: The MHF-HF cut band exhibits a (wide-band) shelving characteristic, while the HF boost band exhibits a variable Q, peak filter characteristic. -
Page 13: Mhf-Hf Cut
-14.5 dB, while the maximum boost reaches +12.5 dB. The Passeq is not limited to any one particular kind of application, and, for example, is also especially well suited to processing indi- vidual instruments in recording sessions. In such cases the wide downward reaching MHF-HF cut band may be play an exceptional role. -
Page 14: Output Control, Settings, Channel Switch
Two illuminated switches in the center of the standard GUI front activate or bypass processing for the left or right chan- nel. On the Passeq Single GUI, the right switch is always grayed out; the left one always activates or deactivates the Passeq Single, regardless of whether processing is mono or stereo. -
Page 15: M/S And Link, M/S, Link
The left channel always controls the right channel. If you activate the LINK mode, the current settings on the right channel are not overwritten, even if they are different. Settings are only trans- ferred once LINK mode has been activated. Passeq Analog Code ® Plug-in... -
Page 16: Using Equalizers
This section on “EQ Yin & Yang” reproduces thoughts and verbal- izations by Bob Katz, whose superb Focal Press book based on a series of lectures entitled, “Mastering audio, the art and the sci- ence”, we highly recommend. > Passeq Analog Code ® Plug-in... -
Page 17: First Control Levels, Then Apply Eq
As soon as one has the feeling that he or she needs more that 6 dB in EQ (boost), one should investigate thoroughly whether or not initial levels have been set properly. Passeq Analog Code ® Plug-in... -
Page 18: Monic Frequency Levels
Guitar – 5 kHz: Brighter, more brilliance Vocals – 5 kHz: More presence Vocals – 10 kHz: Brighten up Note that each instrument will have at least two frequencies where EQ can achieve a greater clarity or brilliance. Passeq Analog Code ® Plug-in... -
Page 19: Emphasis Of An Instrument's Main Frequencies
The boost value should remain between 3 and 6 dB. Passeq Analog Code ® Plug-in... -
Page 20: In The Mix-Or Not?, Splitting Frequency Bands
With a bandwidth of a half octave and 3 dB boost, one can achieve clarity and instrument differentiation. The higher frequency should by applied to the instrument which sounds brighter or more brilliant. Passeq Analog Code ® Plug-in... -
Page 21: Complementary Filtering
• Lead/Background Vocals: A cut between 3 and 4 kHz in the background voices gives them a needed airy quality, while boosting the same lead vocal range allows it to come through with more clarity. Passeq Analog Code ® Plug-in... -
Page 22: Processing Examples
15 kHz: Boosts in this range brighten most sounds, but be careful with hidden dangers such as emphasizing noise, hiss and/or creat- ing excessive sibilance. The rule always applies: Before reaching for the knob to boost, first try cutting elsewhere for accentuations. Passeq Analog Code ® Plug-in... -
Page 23: Classical Instruments And Their Frequencies
Harmonics Fundamental Frequencies Piano Pipe Organ Bass Viola Violin Cello Contra Bassoon Bassoon Clarinet Oboe Flute Piccolo Bass Tuba French Horn Trombone Trumpet Tympani Snare Drum Cymbals Male Voice Female Voice Passeq Analog Code ® Plug-in... -
Page 24: The Basics Of Frequency Filtering
The energy relationship between fundamentals and harmonics is different between direct sound and that which is reflected (for Passeq Analog Code ® Plug-in... -
Page 25: Sound Correction And Sound Design
> Passeq Analog Code ® Plug-in... -
Page 26: Frequency Filters, Filter Types
Depending upon the technical construction, such filters may, for example, process only high or low frequencies in certain way. Filter Types There are two types of filters used in the Passeq: wide-band fil- ters which are comparable to shelf-filter characteristics and bell- formed peak-filters with narrower bandwidths. -
Page 27: Shelf Filters, Peak Filters, Bandwidth
A high Q value means a narrow bandwidth while a smaller Q factor corresponds to a wider one: Bandwidth 2 Octaven: 0.7 Q Bandwidth 1 1/3 Octaven: 1 Q Bandwidth 1 Octave: 1.4 Q Bandwidth 1/2 Octave: 2.8 Q Passeq Analog Code ® Plug-in... -
Page 28: M/S Basics
Due to the advantages and disadvantages that each technique pro- vides, more often than not they are combined during production to achieve L/R playback. Passeq Analog Code ® Plug-in... - Page 29 L = M + S, R = M - S Mathematically, the sum and subtraction of signals guarantees a lossless conversion from L/R to M/S and back to L/R, which is a very important aspect for using M/S encoding for signal process- ing. Passeq Analog Code ® Plug-in...
- Page 30 Passeq SPL Analog Code Plug-in ® Manual SPL – Sound Performance Lab Sohlweg 80, 41372 Niederkruechten, Germany Phone: +49 (0)2163 983 40, Fax: +49 (0)2163 983 420 E-Mail: info@spl.info, Website: spl.info...
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