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Q10-Paragraphic EQ
The Q10-Paragraphic EQ offers up to ten bands of true parametric or high/low shelving EQ, as well as high pass (low cut) or low pass (high cut) filters. You can configure it as two independent mono equalizers or one stereo EQ. Everything from a subtle nudge to extreme equalization is possible, and automating manual EQ sweeps via VST (or TDM) makes for some very dynamic mixes.
Parametric (bell), low/high shelf, and low/high pass filter types are provided, and an extensive library of more than 200 factory setups provide plenty of jumping-off points for creating user presets and setups. Included presets cover pseudo-stereo, band-limiting, harmonic comb filter, pre/de-emphasis, crossover, notch, multimedia and other EQ application categories. According to the manual, many of Q10's factory presets were devised primarily for use with audio files sampled at 44.1 or 48 kHz and will not work in the intended fashion at other sampling rates (the EQ's filter frequencies are halved in these cases to match the lower sampling rate, resulting in less than predictable audio). The EQtools, Supernotch, Superparametric EQ, Harmonic Combs, PseudoStereo and Crossover effects presets do work flawlessly at any bit rate, though this is still somewhat limiting for those working with low bit-depth source audio files below 22kHz.
Q10's interface is easy to use and read, providing on/off, filter type, gain, frequency and Q controls for each band, left/right/strap modes, and left/right input/output faders next to the signal level meter. I liked the precise EQ graph markings showing gain along the left side (-21dB to +21dB) and frequency (16Hz to 22kHz) along the bottom. Too bad, however, that the mouseable EQ curve for each band doesn't redraw until you let go of its triangular control marker. Though Q10's controls are quite easy to use, I much prefer the realtime EQ curve re-drawing of Waves' high-end, 6-band Renaissance EQ plug-in for graphically manipulating EQ curves.
As with most other Waves plug-ins, Q10's stereo input faders have switches for reversing channel polarity, and bright red clip lights come on when things get too hot. The manual is lush in highly-detailed descriptions and applications for each category of its EQ effects, such as creating pseudo-stereo and distortion effects, and provides numerous screen shots from the Q10 to illustrate the textual concepts.
Unlike a fine outboard tube EQ, or even certain other EQ plug-ins (particularly from Focusrite), the Q10 has a very neutral sound. As a result, when you need uncolored, clean, predictable, high-quality equalization -- and a flexible way to control ten bands worth of it -- the Q10 rocks.
TrueVerb
True to its name, Waves' TrueVerb is a high-quality stereo reverb and room emulator plug-in that creates some very convincing spaces, without completely draining your CPU. Large cathedrals, snappy plates and tight New York studio presets abound.
But the real fun here is using TrueVerb's excellent graphic user interface to craft your own rooms via mouse or numerical input. The Time Response portion of the interface provides control over room size, distance to source, early reflections, pre-delay, reverb tail and all relative levels. Room size and distance are indicated in meters along the top of the display and early reflection/reverb times are measured in milliseconds along the bottom. From left to right, the graphic display shows the source signal as a red vertical bar on the left edge, the spread of early reflections to the left as white vertical lines, and the reverb level as a blue bar overlapping the last of the early reflections. The Frequency Response graph at the bottom of the interface shows the reverb's frequency contour and is a breeze to mouse around with when tone-shaping the reverb signal, and on/off toggle switches for direct sound, early reflection and reverb input are handy for auditioning/bypassing these inputs in the main stereo output.
TrueVerb sounds natural and uncolored. Reverb tails decay ever so smoothly, early reflections are distinct, and getting "outside-the-room" spatial effects is easy using the unique Distance control. Moving the distance setting to a shorter value shifts early reflections and reverb proportionately, making the direct sound and first reflections louder while softening the reverb level to match that of the last reflections. By matching up its independent early reflection and reverb processors, TrueVerb produces a single matched pattern of decaying reflections and reverbs that are quite convincing and realistic.
Of course, any plug-in -- TrueVerb included -- is a subjective call, and indeed, other reverb plug-ins from TCWorks, Digidesign and others are clamoring for the same place in your plug-ins menu. But for my ears, TrueVerb left me wanting for little.
Next Page: A Closer Look: L1 & C1....
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