Interesting Piece on Digital EQ

In the computer programming world, front-end designers get paid about the same as the hardcore developers that actually make the programs, simply because people will spend more money on things if they look pretty.

You just have to try and remember that ugly things have to try harder to get your attention ;)

Steve

that's the same in the CD-Production world!
I've had several jobs where the label paid as much for the artwork/booklet as for the entire production (audio) of the CD....in other words..the graphic designer gets for his 2 days of work as much as I'm getting for like 4 weeks....plus the overhead costs in a studio are usually higher than what the grfx designer has got to pay as monthly costs.
cruel (and stupid) world
 
that's the same in the CD-Production world!
I've had several jobs where the label paid as much for the artwork/booklet as for the entire production (audio) of the CD....in other words..the graphic designer gets for his 2 days of work as much as I'm getting for like 4 weeks....plus the overhead costs in a studio are usually higher than what the grfx designer has got to pay as monthly costs.
cruel (and stupid) world

We're in the wrong business, Lasse. fuck...:cry:
 
To some extent this is true. In particular, a lot of the PEQs use the same formulas for generating filter coefficients. They're the formulas from Robert Bristow-Johnson, if you google "RBJ cookbook filters" or something like that, you'll find them.

There are some PEQs that use different digital filter prototypes, but I don't remember them offhand. If you see an EQ with options for things like Chebyshev, Elliptical, or Butterworth, that is a different filter from the RBJ ones that you hear used everywhere.

Also there are some different EQs besides those, but the general statement holds. There are Digital EQs other than linear phase, i.e. there's also minimum phase.

Part of the deal is this. "Digital EQ" means a FIR filter, which is what you guys call an impulse response. It's a finite amount of N samples, that are combined with the past N input samples to form an output sample, using a mathematical operation called convolution. You can get whatever phase response and frequency response you want, but the resolution is limited by the number of samples, and more samples means more resolution, and it's computationally intensive, and much more so by using a longer impulse response. When you see a linear phase EQ, it's almost certainly a FIR filter because you can design the phase response to be linear very easily.

The other main kind of filter is IIR, which is an infinite impulse response. Here, the output sample is a function of just a few (like 3 or so) of the past input samples, but also the past output samples. It's a recursive filter, unlike FIR. IIR filters are a lot harder to design; the general technique is to design an analog filter that does what you want, and use a mathematical transformation to get the digital filter coefficients. That's what RBJ did. These are way less computationally intensive, because each sample requires like 6 multiples instead of 2000 like with a FIR filter. The downside to this is, phase response is trickier.

First of all, with an FIR filter, you can independently design amplitude and phase response. It's really simple. However, with an IIR filter, it's not straightforward like that. You can't just construct a phase response, but you can choose an analog filter with a phase response close to what you want, but there aren't as many options. Furthermore, say you have an analog filter you really like, say a nice Neve EQ circuit or something. The bilinear transform, which is used to get the IIR filter from the analog prototype that I mentioned above, doesn't totally preserve phase response! As the frequency increases, the digital filter's phase response becomes less like the analog phase response. It gets warped. So the bilinear transform is a good technique for digitizing an analog filter, but it won't give you exactly the same phase response. I'm skeptical that you can hear the warping especially cause we're less sensitive to phase differences at high frequencies.

Now, a really good model of an analog EQ unit could be given with a FIR filter, but like I said that's computationally intensive. That's why you see these IIR filters so often. And with all of these IIR filters, you're usually hearing RBJ's filter coefficient prototypes, because they're widely available. Like I said, there are Butterworth, Chebyshev, Elliptical, and some others. They all have different optimality (maximal flatness in the passband, in the stopband, etc). The reason you don't see them used as often is they're more complex to design -- it's not as simple as just plugging it into a formula like RBJ's. They are used in some places though.

I know this got technical, if you're curious just wikipedia "FIR Filter" or "IIR Filter" or "Digital Biquad" or "Butterworth filter", etc.

Edit: My bad, I confused myself. To correct my error: using the bilinear transform to make an IIR filter from an analog prototype results in a filter where the amplitude response differs slightly close to the Nyquist frequency (as the frequency gets high, error gets worse), but this difference is pretty small and can be compensated for by pre-warping and oversampling. On the other hand, the phase response, I believe, is substantially different from the analog filter.
 
Great post, schnarf!

For me, the most frequently used thing is having a good all purpose EQ (such as the stock Cubase EQ, or the Sonalksis EQ, or UAD-1 Cambridge EQ.) A good Sony Oxford style EQ is probably all you need - however, I find that I can get to certain sounds much faster with UAD-1 Pultec and Neve plugins than I can using a more versatile EQ.

This is because of the preset bandwidths and EQ curves inherent to these plugins - it's a bigger thing than UI, in the sense it's really all about how the UI of the vintage emulation EQs restricts you to "tried and true" settings, rather than having a world of EQ at your disposal. Also, whatever saturation algorithims these plugins use sound badass, and I don't know of any other saturation plugins that sound the same as these EQs run flat.
 
The UAD stuff doesn't commonly do much saturation from what I hear? Their bread and butter models are almost a decade old and have certainly been superseded. Many seem to think the T-Racks Pultec wins out. I'm not sure about the Neve and stuff, but there's been word about UAD working on version 2 plug-ins to keep up with the advancements in computational power. I know many people really like the UADs, but back when they were coded they were likely limited in what they could do. As a result they are 'cleaner' sounding than a lot of modern emulations.
 
The UAD stuff doesn't commonly do much saturation from what I hear? Their bread and butter models are almost a decade old and have certainly been superseded. Many seem to think the T-Racks Pultec wins out. I'm not sure about the Neve and stuff, but there's been word about UAD working on version 2 plug-ins to keep up with the advancements in computational power. I know many people really like the UADs, but back when they were coded they were likely limited in what they could do. As a result they are 'cleaner' sounding than a lot of modern emulations.

Apparently you're completely right, as this video proves! :kickass:



So the UAD-1 Pultec boosts volume - and that's all it does - to make you go "wow" when you insert it. I always assumed it boosted level and added harmonics - but it doesn't!! That is so fucking cheesy!!! I feel stupid!!!!

Crazy, I will be trying out T-Racks 3.0 immediately. Perhaps this will help take some of the load off my aging UAD-1 card...

UPDATE - Just downloaded and installed the T-Racks 3.1 demo. WOW, what a difference is all I can say. The T-Racks Pultec slays the UAD-1 Pultec - my standby plugin for guitars for nearly a decade! This is huge, I'm a total convert, I never thought anyone would beat the UAD-1 Pultec, but T-Racks (of all things) has...
 
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Wow Shane, I didn't expect to hit anyone with a revelation, but I'm glad you found a step up to what you were using!

It's amazing what we can fool ourselves into thinking. There are a lot of diehard UAD guys out there, but their plug-ins really have been overtaken by native ones, as you've seen and heard for yourself here. Most recently the Waves CLA Classic Compressor bundle beats them out on the LA2A and 1176 front. The Stillwell Rocket has been a fantastic cost-efficient 1176-type plug-in for a while too. T-Racks of all things have some good stuff going. I hear their emulations rival the Waves Puig pack, though I've never done a direct comparison.