just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
The best part of this channel is that you REALLY will learn something new, damn near each and every video. Now of I only understood what I just watched lol.
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed. Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon. However, the trick Dan proposed might be great for properly recorded signals with mild highs.
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707. This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again). You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it. Cheers
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
Phase issues are so trivial to me. Just use your ear. I never had a problem with phase no matter what crazy FX chain I concocted. If anything the phase "problem" was actually what made the mix spicy. It's all subjective.
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
Hi Dan! Great video, love how articulate you are.✨ I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
@dan sir can you make a detailed video on multiband compressor's interband modulation. Because adding a multiband compressor without any compression (or any freq splitter plugin) also changes the signal output even upto 5 to 6 db in peaks
@@DanWorrall yes linear phase option keeps the signal unchanged but punch and attack of drums is compromised. On master buss this is prominent compromise
@@gangsterdistrict1154 is there any audible issue with minimum phase? Go with that if not. Increased peak levels not a problem unless you're pointlessly chasing maximum loudness.
@@DanWorrall actually it is absolutely fine to tolerate lil bit of unwanted peaks. But it may be a good topic to introduce your viewers with interband modulation of multiband compressors and filters in general
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you! Side note those graphs are Outstandingly Helpful for understanding your concepts!
Usualy 12dB or 6dB slopes are having less phaseshift which makes them more 'analog'. mathematically there are two eqcurves possible to represent a similar frequency response. Maybe parallel bandpass filters are less noticable if aligned per octave. The point of eq is it delays / phaseshifts a signal for cancellation which is exactly how a filter works. Maybe the processing is reduced if engaging a dynamic eq mode instead of static otherwise the CPU is used twice if both compressor and pro q3 using oversampling. It is likely that high peaking phaseshifts are making alaising artifacts more obvious so it is recommended to use oversampling on very steep eq slopes or broadband cuts. It is more interesting to figure out if oversampling is required at all if using parallel compression/eq/saturation/distortion because the original signal is retained anyway and if a 12 dB slope in parallel is just something like 6 dB slope in serial it is not exactly that sum but somewhere in a logarithmic loudness range. A big feature suggestion to ffproq3 would be a phaseshift visualisation which would make something like plugin doc redundant for that part. Thanks.
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
The Airwindows LP and HP filters are my go-to for this. I don't know if Chris did something to compensate for the phase issues or if it's just luck/the material I use it on, but I've never had any phase issues with them.
I love this trick, use it extensively on my drums bus, bass buss, and vocal buss. Compress the hell out of the low and high bands and blend them back in. Dan, I've asked about this plug -in before: the one i use for parallel high-pass and lowpass (midband as well) is the Waves L3 multimaximizer (done by by solo-ing the bands) . Have you experimented/tested it at all? only using it as a crossover (no multi-band compression engaged) . It does a better job than the ProQ3 and has a LOT less latency. Although ProQ3 latency can be compensated for, my DAW maxes out at around 16,000 samples of compensation (depending on sample rate of session). And the ProQ3 eats up too much of that where I feel limited to not use too many other latency heavy plugs. Would love to be able to give back and help you the way you have helped us by giving you a less-latency option for the same task
I'm not sure how you get better than a perfect null? Anyway, Q3 has settings for different amounts of latency in LP mode. You risk getting artifacts if the latency is low, and your filter is also tuned low. But if it's clean in L3 its probably safe to match that latency in Q3 for the same crossover frequency.
@@DanWorrall thanks for the reply Dan! I just meant better as in the same result but with less resources. At 44.1Hz sample rate, The L3 has 3538 samples of latency (fixed, no options to change). Whereas the ProQ3 has 5184 samples of latency on Medium. The L3 is seemingly perfect (to my ears no testing) even at low frequencies, I regularly use 40-60Hz lowpass band in parallel.
I think you are saying that if I run ProQ3 on "LOW" mode 3072 samples of latency - it would be similar to the L3, but to my ears the L3 sounds a lot better than Q3 in "LOW". I'd say it even sounds better than "Medium" mode. And once your in HIGH territory you nearing too much latency and forget about VERY HIGH unless you want to hear that parallel track ......tomorrow lol. One thing that makes comparing the two difficult, is that the L3 lacks any useful Slope values - they use a 0 to 100 slider called "separation" with no indication of db/octave.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
Your vids are like being in an alternative reality, where everything suddenly makes sense.
Thanks so much!
just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarnthose tips are ment to be used when its not just an example
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
same. Same. same.
Exactly the same!!! Amazing tutorials
The best part of this channel is that you REALLY will learn something new, damn near each and every video.
Now of I only understood what I just watched lol.
Always interesting and educational. Looking forward to the upcoming parallel band-pass video you mentioned at the end!..
Yea Dan, I can’t wait to see your next tutorial sir! 🙏🏿
Indeed, he got me looking forward!
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
Yeah. That was a high drama cliff hanger for me!! Need that parallel band pass video now 😂
That's actually beautiful singing!
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed.
Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
"Above one, there be dragons" - sir, you slay me!
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
Would it be formal knowlwdge? I mean, formal education? Or a raw mix of intelligence, curiosity, experience and excellence mixed to the next level?
Thanks!
I've been eating tons of music related infos for 15 years, but never heard about using filters in such a way. Thanks Dan.
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
God damn I love your videos. I only have one complaint about your channel: I wish it had like 3x more videos I could watch! :D
Parallel high-pass + comp send on vocals does wonders, very radio-like top-end 🤟😁
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
Unfortunately, any saturators I tried in parallel broke and chewed my highs. Aprox. 9 - 15 kHz is a very uncomfortable band for saturation for me.
@@YuriKovalyov interesting, what genres are you mainly talking about?
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon.
However, the trick Dan proposed might be great for properly recorded signals with mild highs.
I feel like Dan Worrall is the walking embodiment of the genius that lived within Al Schmitt. Dan, you're brilliant.
Al was far less cerebral
never thought of doing this, but i often run EQ on my parallel drum bus to remove room tone before compression.
Came for the parallel bandpass tricks, and waiting for next installment! Dope vocals, btw
Thank you for helping me chase my musical dreams - I have thankfully gotten much better and look forward to learning more
another banger from Dan the goat
Thank you! Lots of excellent comments as well. I'm looking forward to working with this. It's very generous of you to share it with us.
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
Left us hanging there Dan, I look forward to the drum mix trick
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
My PerfoModule "Expandurator" Ableton Live Audio Effect Rack uses parallel bandpass trickery to boost a select frequency range. It's delectable!
You made my music better man, thankyou so much
Used this methods almost everytime since I discovered parallel filtering two years ago. Great stuff to massage your sounds inside your mix.
This is probably one of the neatest little tricks I've ever seen on youtube.. nice!
This why modular analog synths are awesome. Phase errors give it that unique sound.
love it when Dan drops knowledge bombs and then says "wait..... it gets better"
My favorite equalizers are those very rare ones that provide a “tilt” choice. H-EQ is the shit!
Tilt filters can be useful. Also available in Pro-Q3 or Slick EQ GE or Slick EQ M.
love the vocals there! and thanks for the video, great info
I was skeptical initially, looking forward to playing with this tonight
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707.
This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again).
You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
And Q at 0.707 is a 2 pole butterworth
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it.
Cheers
concepts that seem relatively boring in the title become astounding when you explain them dan!
I need to up my game with the clickbait titles, is what you're really saying...
@@DanWorrall 100%
Thanks Dan - And I hope you feel better soon. Looking forward to many more videos Ha ha !
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes
BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
Ahhhhh...Welcome back!
We missed This Dan Worrall!!!
As always, best audio tutorials on RUclips.
Masterfully presented and beautifully narrated, as always.
Your tuts are incredible and you make this area of music production very interesting and digestible to a noob like me. Mr Worrall for PM!
I adore the new visualizer, Dan!
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
What a nice and interesting trick. Thanks Dan!!
I do love your vocals and they do fill my hole.
you never cease to amaze me!
and build tracks from there and leave the rest for a later session. I did both but did the first way initially and it took a day to get through
Ugh, killing me with that teaser at the end!
that opened up alot of new ideas for me, thanks mr. worrall!
Crazy tune Dan, very good tutorial!
One of the greatest cliffhangers ever 😩😁👍
what an absolutely amazing video
This is sooooo much above my head!
Thank you Dan. :)
Great tips as always, and a really interesting demo track! With the heavy autotune it sounds like robot Gregorian chant.
Awesome, as usual! Can’t wait for the bandpass video!
Unbelievable. Thank you so much.
Great video!!
Any chance you could do the new pulsar massive passive eq review? Great sounding master eq
Thanks
Phase issues are so trivial to me. Just use your ear. I never had a problem with phase no matter what crazy FX chain I concocted. If anything the phase "problem" was actually what made the mix spicy. It's all subjective.
Use your tears
Gonna try this out while i wait for the bandpass video my g!
As usual, true gem ! Thank Dan !
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
I can’t wait for the next episode.
Hi Dan! Great video, love how articulate you are.✨
I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
Yeah, definitely don't do that. The idea that linear phase is 'better quality' is nonsense. If anything it's the other way around.
@@DanWorrall Thanks for the fast response! Your videos are great to understand how to use the tools we use 🫶
When will you release the track in the vid? I loved the sound of that
A natural born teacher
Amazing to see how you can basically switch between a Baxandall and a Pultec style curve :D
Can't wait for the next Installment.
you are the Carl Sagan of audio , thank you Dan
You got around to making it! Yay. And nice singing and lyrics :)
Oh god... so should i use linear phase eqs for all my reverb and delay sends? Because they are mixed dry/wet signals...?
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
Voice of an angel :P
The audio oracle blesses us again, awesome...
As interesting as ever, thanks Dan !
Thanks for sharing your knowledge. Always appreciate it...
@dan sir can you make a detailed video on multiband compressor's interband modulation. Because adding a multiband compressor without any compression (or any freq splitter plugin) also changes the signal output even upto 5 to 6 db in peaks
Sounds like phase shift from a minimum phase crossover. Try it with a linear phase crossover: there should be no change.
@@DanWorrall yes linear phase option keeps the signal unchanged but punch and attack of drums is compromised. On master buss this is prominent compromise
@@gangsterdistrict1154 is there any audible issue with minimum phase? Go with that if not. Increased peak levels not a problem unless you're pointlessly chasing maximum loudness.
@@DanWorrall actually it is absolutely fine to tolerate lil bit of unwanted peaks. But it may be a good topic to introduce your viewers with interband modulation of multiband compressors and filters in general
Thank you so so much dan, your my hero
Dude you make learning music production fun and engaging thank you so much! :)
Love it. Good teaser too.
I’ve watched maybe 30 videos & you finally gain a sub 🥰 hahaha . They’re always good 👍🏻
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
Thank you for these great ideas sir!
Dan pls show us the band pass trick!!!
Excellent video as always.
I'm your fan Dan! Keep it up! 🔥
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you!
Side note those graphs are Outstandingly Helpful for understanding your concepts!
Usualy 12dB or 6dB slopes are having less phaseshift which makes them more 'analog'. mathematically there are two eqcurves possible to represent a similar frequency response. Maybe parallel bandpass filters are less noticable if aligned per octave. The point of eq is it delays / phaseshifts a signal for cancellation which is exactly how a filter works.
Maybe the processing is reduced if engaging a dynamic eq mode instead of static otherwise the CPU is used twice if both compressor and pro q3 using oversampling. It is likely that high peaking phaseshifts are making alaising artifacts more obvious so it is recommended to use oversampling on very steep eq slopes or broadband cuts. It is more interesting to figure out if oversampling is required at all if using parallel compression/eq/saturation/distortion because the original signal is retained anyway and if a 12 dB slope in parallel is just something like 6 dB slope in serial it is not exactly that sum but somewhere in a logarithmic loudness range. A big feature suggestion to ffproq3 would be a phaseshift visualisation which would make something like plugin doc redundant for that part. Thanks.
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
I used to use parallel band pass a lot and now I'm intrigued as to why it was such a good idea 😂
Hell yeah more Worrall!
I loved the music.
The Airwindows LP and HP filters are my go-to for this. I don't know if Chris did something to compensate for the phase issues or if it's just luck/the material I use it on, but I've never had any phase issues with them.
Awesome Dan.
I wonder what difference make in the slope of the bell filter in pro q3
I love the Drop by Cytomic for this feature.
I love this trick, use it extensively on my drums bus, bass buss, and vocal buss. Compress the hell out of the low and high bands and blend them back in. Dan, I've asked about this plug -in before: the one i use for parallel high-pass and lowpass (midband as well) is the Waves L3 multimaximizer (done by by solo-ing the bands) . Have you experimented/tested it at all? only using it as a crossover (no multi-band compression engaged) . It does a better job than the ProQ3 and has a LOT less latency. Although ProQ3 latency can be compensated for, my DAW maxes out at around 16,000 samples of compensation (depending on sample rate of session). And the ProQ3 eats up too much of that where I feel limited to not use too many other latency heavy plugs. Would love to be able to give back and help you the way you have helped us by giving you a less-latency option for the same task
I'm not sure how you get better than a perfect null? Anyway, Q3 has settings for different amounts of latency in LP mode. You risk getting artifacts if the latency is low, and your filter is also tuned low. But if it's clean in L3 its probably safe to match that latency in Q3 for the same crossover frequency.
@@DanWorrall thanks for the reply Dan! I just meant better as in the same result but with less resources. At 44.1Hz sample rate, The L3 has 3538 samples of latency (fixed, no options to change). Whereas the ProQ3 has 5184 samples of latency on Medium. The L3 is seemingly perfect (to my ears no testing) even at low frequencies, I regularly use 40-60Hz lowpass band in parallel.
I think you are saying that if I run ProQ3 on "LOW" mode 3072 samples of latency - it would be similar to the L3, but to my ears the L3 sounds a lot better than Q3 in "LOW". I'd say it even sounds better than "Medium" mode. And once your in HIGH territory you nearing too much latency and forget about VERY HIGH unless you want to hear that parallel track ......tomorrow lol. One thing that makes comparing the two difficult, is that the L3 lacks any useful Slope values - they use a 0 to 100 slider called "separation" with no indication of db/octave.
Really eager to see the parallel filter tricks for drums tutorial!
High pass looks similar to the dolby trick.