ons as a general studio equalizer, it is particularly effective at treating stereo programme material - either at the mixing stage or during
Where more subtle treatments are required, the Optimizer’s exploitation of psychoacoustic principles ena- bles it to significantly improve the focus, tonal balance and general clarity of detail within a mix, with the bare mini- mum of processing. This is particularly important when a client wants to improve the sound of a mix but doesn’t want to make any significant change to the overall tonal balance. Even filter Cut/Boost settings of less than half a dB can bring about significant changes in the perceived quality of the mix being treated.
The more specialized equalizer modes are most likely to be used for treating individual signals to create special effec- ts. There is virtually no limit to the number of equalization effects you can create through combining the various filters. Common studio effects such as ‘telephone’ or ‘transistor radio’ sounds can be set up in moments, while the Notch fil- ters can attenuate mains hum and rumble, reduce the level of lighting buzz or even recreate vintage phasing effects.
MULTI TRACK |
|
|
|
|
| RECORDER | |
|
|
|
|
|
|
|
|
| Master out- |
|
|
|
|
| |
| Insert send 2 |
|
|
|
|
| |
|
| Insert send 1 |
|
|
|
|
|
|
|
|
| Input filter |
|
| |
|
|
|
|
| stages 1 and 3 |
| |
|
|
|
| ||||
|
| Insert return 1 | Output filter | ||||
|
| stages 2 and 4 | |||||
|
|
|
|
|
| ||
|
| Insert return 2 |
|
|
The Optimizer can produce results as dramatic as sub- bass synths or harmonic generators, but without side effects.
The Optimizer improves the focus, tonal balance and general clarity of detail wit- hin a mix, with the bare minimum of processing.
There is virtually no limit to the number of equalization effects you can create through combining the various filters.
Optimizer´s extremely low frequency response is ideal for creating subwoofer com-
OPTIMIZER
USED IN THE
INSERTS
OPTIMIZER | 11 |