In the ’80s it was the first to use a different approach to tonal adjustments. In conventional analog equalizers, whether they are shelving, sweepable, graphic or parametric types, various sections of the audio spectra are boosted or attenuated by adding or subtracting bandpasses. In this case, frequency shaping is achieved by summing bandpasses. Our emulation of this method is quite similar to the original and improved with additional possibilities of digital technology. Now you can hear it for yourself.
There are five broad, overlapping, interacting bands: 10 (Sub), 40, 160, 650 and 2.5 кHz, along with the «rock (airy) band» control, which is an HF boost-only control.
When using the EQ3, remember that the bands are broad, approximately 2 octaves. They overlap one another. For example: when boosting the 10 kHz «rock band» to a +6 position on the knob, to keep the response flat through in 2.5 kHz region you should rotate the 2.5 kHz coarse knob to about a -1 position. The amount you back off the 2.5 kHz control should, of course, be set by ear. Following this kind of procedure will accomplish a more airy sound, with much more clarity.
You can accomplish the same thing for the low frequency response by applying the same principles. The EQ3 will reach further into your mix than you’ve ever heard before with minimal phase distortion.
As a result, you may need to take a little time and «play around» with the controls on the EQ3 before you can make intuitive adjustments.
The EQ3 extends the features of the original hardware and joins the flexibility of the digital world to the character of the analog processing. The EQ3 plugin designed from the ground up for fast, efficient work on mid/side, stereo and the objects, the beds (fixed channels) of immersive mixing environments.
Surround profiles do not work correctly in Logic Pro, this is due to a bug in Logic Pro compatibility with AUv3 on multi-channel tracks (When Apple fixes this, our plugin will work correctly). AUv3 on multi-channel tracks works absolutely right in Reaper.
This module allows you to select a equalizer from four available. The equalizers are arranged in series, this allows you to process channels with different equalizers settings. For example: the first EQ is only the mid channel, the second EQ is only the side channel, the third Eq is the left and right channel. For multi-channel modes: the first Eq is only the left and right channels, the second EQ is the center channel, the third EQ is the LFE, etc.
You can rename Fx Buttons for ease of use. To rename the selected Fx button, right-click on the button.
In order to turn on the solo (listen) of the equalizer, double-click on the selected equalizer number. The equalizer in solo mode glows yellow, to exit solo mode, double-click again. For two-channel modes, only one equalizer can be solo mode. For multi-channel modes, one or more equalizers can be soloed.
To bypass Eq processing, press the selected equalizer number one click + shift. In bypass mode, the button will glow red.
You can also copy all equalizer settings to another equalizer. To do this, select the equalizer from which you want to copy the settings, then click on the copy button, then select the equalizer to which you want to copy the settings.
Input Routing lets you choose between 44 common channel setups, starting from Stereo up to 7.1.4 and 9.1.6. Simply select in the input routing module the channel setup that fits your track.
You can also create your own input routing profiles. 16 independent channels are available.
Click on the edit button next to the input routing selection display. Hold down the shift button and select the desired number of channels. Name selected channels in order. Then click save and name the profile.
In this module, you can select (activate) the channels that the equalizer will process.
Let’s take a closer look at the controls from left to right.
This band controls the ultra-low sub frequencies. If you need to get rid of some rumbling this is the band to turn down, and if your mix can use some really low kick or bass try increasing this extraordinary low band.
The 40 Hz band opens up low end in mixes, makes bass drums bigger and electric bass smoother when boosted.
Reduce here to make voices less resonant, or add 160 Hz to get that low narrator sound. Cutting 160 Hz on instruments can help bass and bass drum punch through in rock or pop mixes.
Boosting this band on vocal tracks will make them become better understandable, cutting 650 Hz will make them more indirect. On mixes boosting this band will add some power to a mix without making it too aggressiv in the highs.
A very important band to control the bite of vocals, the aggression in rock guitar sounds, or the midrange in general for complex mixes.
AIR (sweepable frequencies)
Blend some shiny highs to your original signal and hear how almost every signal will open up and benefit from this band. The higher frequency you select (VARI Knob) the smoother hi- end sound you get.
This knob controls the level of harmonics added to the signal. The distortion is mild and adds some coloration.
Shifts the phase by 180 degrees.
The EQ is active when the EQ IN button is engaged and its associated LED is illuminated. When this button is off, selected EQ is disabled. Please note that this button disables only the selected equalizer, the rest of the equalizers in the FX blocks are not disabled.
This knob is an output gain control. The available output gain range is ±12 dB.
Undo and Redo functions allow undo and redo of changes made to the plug-in parameters.
A/B buttons allows you to load two independent settings and compare them quickly.
Factory presets are included in the plug-in installation, installed in the following locations:
Mac: Users\[user name]\Music\Red Rock Sound\RRS EQ3\Patches
Windows: C:\Users\[user name]\Documents\Red Rock Sound\RRS EQ3
You can save the current Comp settings as the Default preset. - Full Reset – is the default preset
Load button allows loading of presets not stored in the locations described above.
Save button allows for save of user presets.
Global Output Gain
Global Output Gain controls the overall output level of the plug-in output, after all equalizers.
OS x_ activates 2x, 4x or 8x oversampling, 1x disables oversampling. (note that when the HQ mode is on, CPU will be loaded more than usual).
HQ mode (HQ)
HQ mode is for oversampling, it adds a higher order antialiasing filter. It improves processing quality, but also leads to an increase of the CPU load.
? button opens info page.
D3D / OGL / CPU (Windows)
This switch allows you to choose between GUI rendering engine:
Normally, no need in switching rendering mode manually, plug-in try to initialize D3D9 then OGL (if D3D9 failed) and CPU (if OGL failed) automatically. But if you have problems with the GUI, you can manually switch and test different rendering methods at work.
This switch is available only in the Windows version of the plugin. For the Mac version, this is not necessary.
Note: Drivers of some video cards (for example, Intel Arc A380) in D3D mode adversely affect the plug-in (periodic noise or whistle), if you encounter a similar phenomenon, use OGL or CPU.
This switch enables or disables SIMD optimization, it can be used by multichannel processing with high oversampling. It is undesirable to use in mono and stereo modes, SIMD only slows down the plug-in due to the overhead of splitting the data for optimization.
(Currently in beta testing)
- In the ARM version, you can enable or disable NEON; - In the Intel version, you can enable or disable SSE2.
- In the Intel version, you can enable or disable AVX (if supported), or SSE2.
The Windows version has a limitation: if the CPU does not support FMA, then the optimization will not work, even if AVX or SSE2 is supported.
Note: Enabling/disabling SIMD is saved in the project for each plugin individually. i.e. if a specific instance of the plugin slows down, then you can enable SIMD for it, and others, if they are in the project, will not be affected by this optimization.