Jan 02, 2021 Marvel GEQ is a linear-phase 16-band graphic EQ that supports up to 8 input/output channels for professional streaming-, sound- and music production applications. The beauty of the Marvel GEQ plugin is that it allows for some extremely quick EQ adjustments, both to single audio tracks as well as entire mixes. Channel EQ It uses the same technology as EQ Eight, but provides a much simpler control layout. Despite its simplicity, the EQ curves and gain ranges have been fine tuned so that it is effective on a variety of audio material: the shape of the filters adapt based on how much a control is boosted or cut, thus allowing for a musical and intuitive. Colour EQ is a 64-bit EQ plugin that offers 5 ”super parametric” bands to manipulate the frequency range. This is exceedingly handy when wanting to use more than one band in one instance; the intuitive gain knobs on the five bands allow for perfect mixing of these bands when mixing and mastering. Jan 08, 2014 Make the Most of EQ Eight With its revamped SVF filters, spectrum display, and other useful features, EQ Eight is a fundamental tool in Live 9. You've likely used it before for basic equalization, or for more 'surgical' tasks, such as getting rid of a ground hum or finding a specific notch to boost or attenuate. The 10 Band Graphic EQ is a versatile equalization plugin with ten selectable frequency bands for precise adjustment of the audio content within 6 or 12Db range. Video Preview freeQueue – Windows / Mac.

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This excellent tutorial on how to make a Dynamic EQ with Ableton Live Devices and Max for Live by Joshua Casper could save you time and money, and help your productions sound great.

Dynamic EQs are like regular EQs on steroids. Usually most Dynamic EQs are quite expensive but there are one or two passable freebies floating around. However, what if I told you that we can build one right inside of Ableton Live using only Live’s native devices and an Envelope Follower that comes free with Max for Live?

A couple of months ago, a friend of mine, DJ Soo, sent me his “proof of concept” for an actual dynamic EQ rack of the sort mentioned above! I had to shelve it for a bit, but then last week I got around to giving it a go. MIND BLOWN. It was awesome. So awesome, in fact, I asked him if he minded me doing a full tutorial for you all here on Ask.Audio. He didn’t, and here we are. Thanks, Soo!!

URL: https://www.facebook.com/djsoo/

What is Dynamic EQ?

First, we should talk a little bit about EQs, compressors, and dynamic EQs. If you already know about these concepts, feel free to skip ahead to the main part of the tutorial.

An EQ is generally static. It boosts, cuts and shapes incoming frequencies in a linear fashion.
A compressor is non-linear. It “reacts” to incoming signals to boost, attenuate and shape sounds being fed through it dynamically.
A dynamic EQ takes the best of both worlds and combines them in one place. An EQ that cuts, boosts, or shapes the sound depending on what is being fed into it. So instead of just a frequency node, gain, Q, and filter types we have additional tools like threshold, attack and release which can drive those EQ parameters.

Getting Ready to Start Building the Racks

NOTE: This tutorial is advanced and I highly suggest naming things exactly as I do to cut down on confusion when we start putting racks inside of racks inside of racks!

Also, I will provide you will screen shots of device settings and macro mappings. Use the same as mine to start with. Once you get a handle on what is going on you can go back and tweak what needs tweaking. Keep a close eye on the Min and Max values for the macro mappings in particular. I will be assuming you are at familiar with racks and macro mappings.

All the Live devices used in this project can be found in Standard version of Ableton Live or a higher version. It also requires Max for Live and the specific device used is part of the free downloadable pack on Ableton.com called Max for Live essentials.

URL:https://www.ableton.com/en/packs/max-live-essentials/

Specific Devices used:

Effect Racks
EQ 8
Auto Filter
Utility
Gate
Envelope Follower (max for live)

“Main EQ” Rack

There are several ways to tackle this beast. I found it easiest to start with the last rack in the chain and work from there.

Drop an EQ 8 on an empty channel in Live. Right click the title bar and select “Group” (Ctrl+G). This will place the EQ into a rack.

For this version of the Dynamic EQ we are going to use 4 filter nodes – 1 low shelf, 2 bell, and 1 high shelf. Make sure to turn of the other filters as they use CPU power even if they aren’t necessarily doing any EQing.

Next, right click the Frequency of the first filter, the low shelf, and map it to Macro 1. Then map its gain to Macro 5. Repeat this process for the other filters, mapping the frequencies of the 4 filters to macros 1 – 4, and the gains to 5 – 6.

In the end, you should have a rack that looks like this.

And macro mappings that look like this.

The next thing to do is rename the rack, the macros, and save it to a new folder, or somewhere you can find it later. I named mine “DynaEQ – EQ – Final Stage”.

Once it’s saved go ahead and delete it from the channel. We will come back to it, but right now it will just add to the confusion while we get started on the next rack.

“Band Isolator” Rack

Drop a new Effect Rack onto the channel. Add two chains. Title one “Band 1”, and the other “DRY”.

You can add a chain by right-clicking where it says “Drop Audio Effects Here”.

With the “Band 1” chain selected drop an Auto Filter and then a Utility device after it.

Auto Filter Settings: Make sure that the Notch Filter is selected. Map the Filter Frequency and Resonance parameters to macros 1 & 2 respectively.
Utility Device Settings: Check the Phz-L and Phz-R buttons at the bottom of the device.

With the Band 1 chain perfectly out of phase with the DRY chain the only audio we will hear is that slipping through the notch filter. Go ahead and test it out by twisting the frequency macro knob to the right and left to hear what happens. The resonance parameter will effectively make the notch wider or thinner, letting more or less audio through.

Your rack should look like this.

And the macro map settings should look like this.

Finally, again, rename the rack. I called mine “DyanEQ - Band Isolator”. Then delete it.

“Band Full” Rack

Now, we want to add a new Effects Rack to the channel. Add a Gate and the Envelope Follower to a single chain.

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Now, take the rack from the last step, “DyanEQ - Band Isolator”, and add it to the chain BEFORE the Gate.

Map the Macro 1 & 2 from the “DyanEQ - Band Isolator” rack to macros to their own macros on the new rack. I mapped the frequency to macro 8 and the Resonance to macro 4, but I titled that macro 4 as “Band Width” instead of “resonance”.

Set out to mapping and setting base parameters of the Gate and Envelope Follower. Don’t worry about the Map parameter of the Envelope Follower at this point. We will come back to it.

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Make sure to map the Envelope Followe