The astute reader will notice a lack of "buzz words" and that the Massive Passive is not built around gimmicks, plagiarisms, or conventional techniques. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. The difference is that the Massive allows twice as much EQ with half the coloration. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. You'll need to experience this.Ĭreating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. "Passive" refers to the tone shaping part of this clever new EQ design not using any active circuitry. The MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. The sound I've always dreamt of but couldn't ever get until now." Engineers who have already gotten hold of the MASSIVE PASSIVE have told us: "Why does it make everything sound so much better", "It's organic and orgasmic.", "It's a f%#king powerhouse.", "It's unlike any other EQ.", "This is IT. Put your hands on the knobs and crank 'em. Perhaps, but would photographs of our Variable Mu Limiter Compressor or VOXBOX have created their successes alone You have to hear this gear. The lower image engages Adapt Q, which increases the shelf’s resonance.Colossal, timbre-twisting passive equalization using metal-film resistors, film capacitors, and hand-wound inductors to organically sculpt the tone from subtle to vivid. The top image shows the EQ without Adapt Q. 2, the Boost is +15 dB, at a frequency of 2.5 kHz. The High band is a 12 dB/octave high shelf. Let’s look at how proportional Q affects the various responses. The Channel Strip’s Adapt Q button converts the response to proportional Q. When the vocal needs to cut through, raise the gain to increase the resonance and articulation. For less intense parts, add a little gain in the 2-4 kHz range. Proportional Q also works well with vocals and automation. For example, if you boosted drums around 2 kHz by 6 dB, cutting by 3 dB produces the same curve as if the drums had originally been boosted by 3 dB. Also, because cutting mirrors the response of boosting, proportional Q equalizers make it easy to “undo” equalization settings. If you’re applying a deep cut, you probably want to solve a problem. Increasing the gain likely means you want a more focused effect. Lower gain settings are common for tone-shaping. This is consistent with how we often use EQ. To this day, engineers praise API equalizers for their “musical” sound, and much of this relates to proportional Q. In the late 60s, Saul Walker (API’s founder) introduced the concept of “proportional Q” in API equalizers. Figure 1: The Channel Strip plug-in looks basic, but the EQ hides a secret talent.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |