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Logic Pro User Guide.Vintage eq logic pro x free download

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  Feb 03,  · Logic Pro X – Vintage EQ Collection. The update for Logic Pro X introduces long-awaited, studio quality emulations of vintage hardware EQs. Although the stock EQ in Logic Pro X is a great utility plugin, it’s left Logic users looking to third party EQ plugins for the warm, vintage character to take their mixes to the next ted Reading Time: 40 secs. Jan 25,  · Apple has now released a new update for its flagship music recording software, Logic Pro we are getting a very long list of minor tweaks and enhancements here, version is Estimated Reading Time: 10 mins. Learn about the Logic Pro Vintage Console EQ, which emulates the EQ section of a well-known mixing console channel that is noted for its tonal color. May 27,  · Apple Logic Pro X Free Download –. this is for education purposes only, its for those who want to learn the software not to sell it, use it at your own risk. Logic Pro X is the best music production software you can buy. It is affordable and creates professional-quality ted Reading Time: 3 mins. Feb 03,  · The update for Logic Pro X introduced long-awaited, studio quality emulations of vintage hardware EQs! In this video, I'll walk you through the 3 new pl.    

 

Free Plugin - Soundtoys Sie-Q Vintage German Equalizer | Logic Pro.Free Plugin - Soundtoys Sie-Q Vintage German Equalizer



   

Mark Cousins steps back in time…. Mids are catered for with a semi-parametric band from about Hz to 7kHz , leaving the tops covered by a silky shelving EQ set at 12kHz. On the whole, Graphic EQs tend to get a bad name in the studio, mainly because the band divisions are relatively coarse by comparison to a fully-sweepable parametric equalizer.

That said, the API is still a well-loved sound-shaping tool, partly thanks to its Proportional Q. Put simply, Proportional Q means relatively small amounts of cut or boost will result in a musically-wide Q setting. Push the frequency harder, though, and Q will become sharper, applying a more focussed cut or boost to the signal. Technically speaking, the single plug-in is actually a replication of two valve equalizers — the shelving-like Pultec EQP-1A and the more mid-range-focussed MEQ-5 — hence the two power switches on the plug-in.

The controls on the Pultec are slightly unconventional — for example, the Low section provides both a Low Boost and Low Attenuation that can be applied at the same time!

Though somewhat counter-intuitive, the walk-through details some of the unique sonic quirks that the Pultec is famed for, which, of course, can be perfectly replicated on the Vintage Tube EQ. One feature common to all three Vintage equalizers is a Drive control, designed to replicate the small amount of soft saturation the original hardware equalizers would produce.

Click on the outside to move in the original stepped increments or use the pot to sweep across the full range. The Low Gain control works as a shelving equalizer, with a stepped or fully variable frequency control beneath the gain control. Try a 60Hz boost on the drums to reveal the low-end of the kick. One well-loved technique with the original was a combination of deep high-pass filtering at 60Hz combined with a low shelving boost at Hz.

The result is a tight, focussed bass-lift that keeps the extreme low-end clean. You can either tame or boost the mid-range using the semi-parametric mid. In the example with the drums, listen to how a 3. The High Gain is another shelving control, this time set at a fixed position of 12kHz.

Adding Drive brings out the soft saturation modelled from the original analogue hardware. You can either add it to your existing EQ curve, or simply use it without any EQ being applied for a subtle touch of extra colour. Volume Correction The combination of a healthy dose of Drive combined with an additive EQ setting can start to push the output levels of the plug-in.

Use the Volume control to tame the output level, which is also useful if you need to objectively compare before and after EQ.

The Vintage Graphic EQ takes a different approach with 10 separate bands of cut or boost. Try experimenting with extreme settings of cut and boost and note how Q becomes sharper at the extreme ends of the scale. Of course, the positioning and relative spacing of these bands forms a big part of the sound of the API Use tune to shift this position in relation to the key of your track.

The additional Attenuation cuts slightly above the cut-off point, clearing some low-mids ahead of the bass boost. Read our quick guide to the Low-End Trick here. The Pultec creates a silky top-end boost that sounds great on strings.

Set the Frequency between 12 and 16kHz with a wide Bandwidth. An alternative to high-end boost is the Attenuator, which can be thought of as a relatively soft low-pass filter.

The bottom section is technically a separate equalizer — the MEQ The first section is a Peak control, covering a frequency range of Hz to 1Khz. Try adding some weight to the drums around 0. The central section of the MEQ-5 is a Dip control. The final section is another Peak, this time covering the high mids. Both Peak controls exhibit a different Q setting based on the frequency, which is a usual though characterful response.

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