Selig ColoringEQ In The Shop!

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Voyager
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Post 06 Jun 2018

I notice that when i'm high pass post saturation i'm not longer post eq. Shouldn't it be the case ?

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selig
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Post 06 Jun 2018

Voyager wrote:I notice that when i'm high pass post saturation i'm not longer post eq. Shouldn't it be the case ?
Saturation is derived per band, and then runs in parallel to the EQ path. So in a way you are correct, filtering post saturation is not post EQ.

But since the saturation is post EQ (for any band being saturated), it’s “sort of” post EQ too.

Here's a graphic that shows all possible Filter positions in the CEQ (not that they can all be active at the same time since there are only two filters):
Screen Shot 2018-06-06 at 7.38.09 PM.png
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Voyager
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Post 06 Jun 2018

What i meant is once i select post saturation my high pass is no longer post eq but pre eq. Make sense or i didn't get your answer correctly ?

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selig
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Post 06 Jun 2018

Voyager wrote:
06 Jun 2018
What i meant is once i select post saturation my high pass is no longer post eq but pre eq. Make sense or i didn't get your answer correctly ?
Can you re-phrase this, I'm not following because a filter cannot be both post saturation and pre EQ (or post EQ, for that matter). It's got to be only one of three possible positions in the signal path as per my signal flow graphic.

There are two filters - what is the selected routing for each filter, and how are you determining whether it's correct or not?

Sorry for all the questions, trying to be sure I understand what your asking to be sure I give a correct answer!
:)
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Voyager
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Post 07 Jun 2018

I replied before you edit your message, couldn't see the illustration and i also read the manual which was helpful. So basically i misinterpret those function. From what i understand now is that if using high pass set on Pre eq it will cut both main signal and saturation while on post eq it cut the main signal and ignore the saturation. Finally Post sat will cut the saturation only and ignore main signal.

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selig
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Post 07 Jun 2018

Voyager wrote:I replied before you edit your message, couldn't see the illustration and i also read the manual which was helpful. So basically i misinterpret those function. From what i understand now is that if using high pass set on Pre eq it will cut both main signal and saturation while on post eq it cut the main signal and ignore the saturation. Finally Post sat will cut the saturation only and ignore main signal.
Yes, that’s it with the clarification that Pre EQ will cut the signal before it can hit any saturation sections (rather than saying it cuts the main signal and the saturation).

What this can mean is that if you filter something out with Pre EQ filtering, it cannot be fed to any saturation stages since it’s now gone!

This can be handy for low frequency garbage that you don’t want to feed into any saturation (and don’t want to hear in any case). Make sense?


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cognitive
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Post 16 Jun 2018

I was in trial mode for the past few weeks and I was kind of hoping to avoid spending the money, even though I knew in my heart I was going to be spending the money.

No such luck avoiding it.

Turns out that in my extended tests, in many cases the Selig Coloring EQ was a better sounding single unit replacement for multiple devices in the mastering chain. For example, on one track, I went from 7 devices (including EQ, multi-band compressor, leveler, limiter, master compressor, etc) in the mastering section down to nothing but a Coloring EQ and a Kratos 2 Maximizer. The result was cleaner (even with selective band saturation), more transparent AND punchier. I also feel like I have much more control, without having to constantly balance interplay of multiple devices on the mix as I'm tweaking.

EDIT: I put the Selig Leveler back in the chain because it cleanly evened out the levels between the quieter vocal-oriented verse section and the "bangin'" chorus section. So, Selig Coloring EQ -> Selig Leveler -> Kratos 2 Maximizer. Really digging the simplicity.

One thing in particular that I like is that, given the way the EQ works, I was able to pull the multi-band compressor out of the chain on some tracks. Per-band control of saturation in the EQ served just as well (actually better), at least for the tracks in question, and was easier to deal with in terms of control.

I did experiment with many different mastering chains in comparison over the past month, but kept coming back to the Selig EQ. I even sent variations of masters to another audio engineer to make sure I wasn't hallucinating the difference (what with ears being fickle analog devices), and in his blind tests, the Selig EQ-ed versions were the ones he consistently preferred.

So, I bought it. Darn you! :D
Last edited by cognitive on 18 Jun 2018, edited 1 time in total.

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Voyager
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Post 16 Jun 2018

cognitive wrote:
16 Jun 2018

So, I bought it.


Welcome aboard.

Personally the EQ itself is totaly worth the price tag but integrate a parallel saturation to it was definitely a clever idea. Once i started to play with the saturation it was an insta-buy for me. I was amazed how effective and well controlled was this saturation and can give any thin and boring sound a total different dimension and presence. From now and on everytime i need to give fatness and grit to a sound Selig saturation has become my go to device.

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raveled
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Post 06 Nov 2018

After watching a promotional video of Nectar 3, I thought to myself that the EQ-follow feature (boosting the fundamental and having the hpf just right below it) maybe is something that ColoringEQ can pull off, if getting some help from Neptune's CV pitch and amplitude out.

After first trying the routing with some CV-REs, I found Peff's combinator which conveniently makes Neptune's bipolar CV pitch output to conform to Note CV (using Thor): http://www.peff.com/journal/2010/08/25/ ... ate-combi/

Routing this converted signal to ColoringEQ did the trick. After setting the tuning to E3 (and I also had to boost the Note CV signal via Selig Gain before it reached ColoringEQ) I am now able to "surf-boost" the fundamental as well as having a hpf just below it (I also threw in a "surf-cut" a bit higher up in the spectrum just for fun). It looks beautiful!

But.. it doesn't sound very good. At first I thought that this was because of timing issues between Neptune's CV signal and ColoringEQ. I never got under 375 samples of latency (the audio route) through Neptune, but I wonder if it's the same for its' CV out? I'm sure I need to slightly delay the audio signal before it reaches the ColoringEQ, but the question is by how much? Anyway... the sound was crackled and it didn't quite sounded like phase issues.

Then I noticed that I could see rumble in the spectrum whenever a crackled sound was produced. This rumble disappeared when bypassing ColoringEQ.

What's going on here? It would be fun to get rid of this crackled sound in order to assess whether ColoringEQ can be used as a follow/surf eq. :)

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selig
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Post 06 Nov 2018

raveled wrote:
06 Nov 2018
After watching a promotional video of Nectar 3, I thought to myself that the EQ-follow feature (boosting the fundamental and having the hpf just right below it) maybe is something that ColoringEQ can pull off, if getting some help from Neptune's CV pitch and amplitude out.

After first trying the routing with some CV-REs, I found Peff's combinator which conveniently makes Neptune's bipolar CV pitch output to conform to Note CV (using Thor): http://www.peff.com/journal/2010/08/25/ ... ate-combi/

Routing this converted signal to ColoringEQ did the trick. After setting the tuning to E3 (and I also had to boost the Note CV signal via Selig Gain before it reached ColoringEQ) I am now able to "surf-boost" the fundamental as well as having a hpf just below it (I also threw in a "surf-cut" a bit higher up in the spectrum just for fun). It looks beautiful!

But.. it doesn't sound very good. At first I thought that this was because of timing issues between Neptune's CV signal and ColoringEQ. I never got under 375 samples of latency (the audio route) through Neptune, but I wonder if it's the same for its' CV out? I'm sure I need to slightly delay the audio signal before it reaches the ColoringEQ, but the question is by how much? Anyway... the sound was crackled and it didn't quite sounded like phase issues.

Then I noticed that I could see rumble in the spectrum whenever a crackled sound was produced. This rumble disappeared when bypassing ColoringEQ.

What's going on here? It would be fun to get rid of this crackled sound in order to assess whether ColoringEQ can be used as a follow/surf eq. :)
I would have to see/hear the issue myself to know what's causing it.

Here's a simpler conversion (by one mod matrix line!) which gives high pass filter tracking to pitch using Neptune, with Filter 1 set to do the tracking:
Vocal Tracking EQ.cmb.zip
The Combinator isn't set up to do anything from the Rotaries or buttons, it's just to save the CV routing.

I've mentioned this before in other threads, that the best way to do vocal pitch tracking is to first convert the vocal to notes with the Pitch Editor. That way you get more precise and predictable tracking, which is not always the case with Neptune using CV.
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raveled
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Post 07 Nov 2018

Thank you, I will try this!

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Loque
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Post 31 Jan 2019

Just noticed this thing here: https://www.wavesfactory.com/spectre/

So, who was first? :-D

The interresting thing is the different models, but for the rest its quite behind the features of ColoringEQ. But i guess that video with the whoopy bass will catch attention of lots of ppl and they say "whhhoooaaa" :-D
:reason: 10, Win10 64Bit.

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selig
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Post 31 Jan 2019

Loque wrote:Just noticed this thing here: https://www.wavesfactory.com/spectre/

So, who was first? :-D

The interresting thing is the different models, but for the rest its quite behind the features of ColoringEQ. But i guess that video with the whoopy bass will catch attention of lots of ppl and they say "whhhoooaaa" :-D
I had em beat on the release by over a month - but I’ve been using and talking about the idea for over 5 years before that. But I certainly don’t think they copied my idea, unless they were on the PUF or RT forum (which is unlikely). I really am surprised no one else thought of this before.

As for features, they are parallel EQ only, and I do serial EQ with parallel saturation (or parallel EQ with a Combinator). I also have even/odd harmonics which gives you complete control over variations between classic tube and transistor saturation. I found the EQ itself was responsible more for the tonal differences than saturation “type”, having tried many different saturation types and ended up picking the one that works best at all frequencies, and adapted best to the even/odd control.

I also found having control over saturation drive and level was essential to dialing up the more subtle variations, as was the solo button (don’t see that on theirs).

It’s also interesting IMO to have the separate outputs for saturation, which can be used even when saturation is off, which allows you to use any saturation type you like.

I would expect to see more of this type of EQ in the future - remember where you saw it first! ;)


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Loque
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Post 01 Feb 2019

selig wrote:
31 Jan 2019
Loque wrote:Just noticed this thing here: https://www.wavesfactory.com/spectre/

So, who was first? :-D

The interresting thing is the different models, but for the rest its quite behind the features of ColoringEQ. But i guess that video with the whoopy bass will catch attention of lots of ppl and they say "whhhoooaaa" :-D
I had em beat on the release by over a month - but I’ve been using and talking about the idea for over 5 years before that. But I certainly don’t think they copied my idea, unless they were on the PUF or RT forum (which is unlikely). I really am surprised no one else thought of this before.

As for features, they are parallel EQ only, and I do serial EQ with parallel saturation (or parallel EQ with a Combinator). I also have even/odd harmonics which gives you complete control over variations between classic tube and transistor saturation. I found the EQ itself was responsible more for the tonal differences than saturation “type”, having tried many different saturation types and ended up picking the one that works best at all frequencies, and adapted best to the even/odd control.

I also found having control over saturation drive and level was essential to dialing up the more subtle variations, as was the solo button (don’t see that on theirs).

It’s also interesting IMO to have the separate outputs for saturation, which can be used even when saturation is off, which allows you to use any saturation type you like.

I would expect to see more of this type of EQ in the future - remember where you saw it first! ;)


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:D :thumbs_up:
:reason: 10, Win10 64Bit.

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aeox
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Post 10 Sep 2019

This thing get's so much use from me, I honestly don't know what I'd do without it.
Random songs/ideas go here:

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mon
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Location: Sofia, Bulgaria

Post 10 Sep 2019

aeox wrote:
10 Sep 2019
This thing get's so much use from me, I honestly don't know what I'd do without it.
Same here! I just wish my dated laptop was doing better job rendering Reason's GUI, to be able afford more instances of it.
:reason: 10+
:recycle: :re: :refillpacker:

PhillipOrdonez
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Location: Colombia

Post 10 Sep 2019

Same here!

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