Selig ColoringEQ In The Shop!

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4filegate
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Post 11 Feb 2018

You're getting too colorful. Stop shining that. It's too bright.

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Maxsu
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Location: Vienna

Post 11 Feb 2018

wendylou wrote:
28 Jan 2018
If anyone doubts the utility of the Coloring EQ, look at what you can do with CV, such as the "Flanger x2 Series.cmb" patch in the included "Modulation FX" folder. Dual CV waveform sweeps driven by Pulsar creating flanging – luv it!

Image
Oh my god! It´s alive!

Still waiting till PH will give us a superb, low DSP EQ who fits perfectly into Reason :D

But I am very interested in such Racks, I don´t use VSTs so the FAB would be my fav but I would prefer a Rack Version. How is the DSP usage on the Selig EQ?

greets
:essentials: Bring it to life :essentials:

spacefarmer
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Post 11 Feb 2018

I'm very interested in ColoringEQ, but there's no time check it out the next weeks.
Did anyone a tutorial?

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jfrichards
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Post 17 Mar 2018

Hey Giles, Too many things going on prevented me from trying out your new EQ, but the $10 sale on the Alan Parsons Bosendorfer Imperial Grand pushed me to try it. Wow, that is exactly what I hoped it would be. Next is to try it recording an acoustic guitar. If you get a moment, or have it already, I highly recommend the Parsons Bosendorfer and your Coloring EQ.


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Voyager
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Post 14 May 2018

Hello Selig,

Do you think that in a future update it would be possible to have the option to solo/listen the cuts or boosts ?

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selig
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Post 14 May 2018

Voyager wrote:Hello Selig,

Do you think that in a future update it would be possible to have the option to solo/listen the cuts or boosts ?
It’s there already, if I’m understanding you correctly. Simply turn off the Master Saturation (yellow) button, and when you solo you’ll hear only the cut/boost of each band. Or use the Master Solo button to hear all cut/boosts at once. Is this what you’re asking about?


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Voyager
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Post 14 May 2018

selig wrote:
14 May 2018

It’s there already, if I’m understanding you correctly. Simply turn off the Master Saturation (yellow) button, and when you solo you’ll hear only the cut/boost of each band. Or use the Master Solo button to hear all cut/boosts at once. Is this what you’re asking about?


You right, since i tried it some time ago i just forgot those solo button function !

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selig
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Post 14 May 2018

Voyager wrote:
selig wrote:
14 May 2018

It’s there already, if I’m understanding you correctly. Simply turn off the Master Saturation (yellow) button, and when you solo you’ll hear only the cut/boost of each band. Or use the Master Solo button to hear all cut/boosts at once. Is this what you’re asking about?


You right, since i tried it some time ago i just forgot those solo button function !
It’s a super useful function IMO. Instead of boosting and sweeping, just cut and solo. Then you can sweep and hear JUST the frequencies being affected without boosting them at all. Then when you un-solo the band, what you were just hearing is now CUT - instant results, and much quicker/easier than the old boost sweep method.

This method, instead of boosting one frequency while still hearing the rest, actually removes all the other frequencies and leaves only the frequencies being affected. This makes it much easier to focus on finding what is actually bothering you in a track.

One ‘problem’ stated by some folks about the boost and sweep method is that you hear the boosted area so much louder than normal (since it’s boosted in gain) that it can cause more problems than it helps. Ideally you’d cut your monitor level so that the boosted area is the same level as the original track (boost by 10 dB, cut your monitor level by 10 dB, for example).

But with the solo/sweep method you don’t have to do that, with the additional benefit that you’re hearing ONLY the frequencies affected by the EQ, which allows you to also determine the width of the band being cut as well.


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Voyager
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Post 14 May 2018

selig wrote:
14 May 2018

It’s a super useful function IMO. Instead of boosting and sweeping, just cut and solo. Then you can sweep and hear JUST the frequencies being affected without boosting them at all. Then when you un-solo the band, what you were just hearing is now CUT - instant results, and much quicker/easier than the old boost sweep method.

This method, instead of boosting one frequency while still hearing the rest, actually removes all the other frequencies and leaves only the frequencies being affected. This makes it much easier to focus on finding what is actually bothering you in a track.

One ‘problem’ stated by some folks about the boost and sweep method is that you hear the boosted area so much louder than normal (since it’s boosted in gain) that it can cause more problems than it helps. Ideally you’d cut your monitor level so that the boosted area is the same level as the original track (boost by 10 dB, cut your monitor level by 10 dB, for example).

But with the solo/sweep method you don’t have to do that, with the additional benefit that you’re hearing ONLY the frequencies affected by the EQ, which allows you to also determine the width of the band being cut as well.


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Totally agree, it's a neat feature and yes make sense since volume usually change our perception of a sound and adding some huge boost could also potentialy add some color/artifacts and thus make our choices more laborious and problematic.

Anyway Coloring EQ is on top of my buy list since i tried it and i especially felt in love with that saturation. I also appreciate the 48dB/octave slope for the high and low pass filter, not very comon on most EQ but so useful.

The thing is that i decided to wait until May sales since it wasn't too far and also because my buy list has acumulate 12 Re...so i guess it was better for me to hold my brakes ! But even if Coloring EQ or some other Re from my buy list i need doesn't go on sale i'll buy them anyway.

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cognitive
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Post 15 May 2018

I've been trialing this for a couple of days.

My wallet wishes it didn't add that certain magic something (per EQ band saturation) to my mastering chain, but it does.

I normally use the MClass EQ as my workhorse, but I tried swapping in the Selig EQ on a few of my Reason projects, and it was ridiculously easy to coax additional life out of my tracks that I didn't know was there until I heard it. In the A/B between the MClass and the Selig, the difference was obvious in the way the music was tighter, more present and had an easy-to-achieve pumping saturated sound.

In particular, I like the way I can selectively saturate frequency ranges without altering the EQ, or alter the EQ without saturation, or do both. One track was especially simple, I selectively beefed up the kick with (not so subtle) saturation, brought out a female vocal with some high-end shimmer (VERY subtle saturation), and rolled off the extreme lows, tightening up the entire thing. The MClass could do the EQ part, but Selig's integrated saturation was the winner here.

I haven't even tried other more focused applications of the EQ, which I'm sure are wonderful, but just the way it adds vibrancy to my mixes as part of the mastering chain is worth it alone.

Darnit. :(

jimmyklane
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Post 15 May 2018

Looks very interesting, and is a fantastic addition to the RE landscape. This is one of only TWO RE’s that I am at all tempted to buy....simply because this has an incredible amount of utility. I expect to hear an awful lot of “noise bells” coming from Reason users soon given the ability to track narrow bands to the keyboard and sequencers. First thought is to put Scales and chords to 5-6 tracks and have them “play” enveloped white noise through this device. Almost like the Lexicon/Eventide “resonator” patches.

Demoing tomorrow. I do sound design and make most of my living from my music and mixing others music, so a utility like this is high on my list of wanted items. No wonder you spoke with authority on EQ in our other thread!
DAW: Reason 10,

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

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guitfnky
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Post 15 May 2018

jimmyklane wrote:
15 May 2018
Looks very interesting, and is a fantastic addition to the RE landscape. This is one of only TWO RE’s that I am at all tempted to buy....simply because this has an incredible amount of utility. I expect to hear an awful lot of “noise bells” coming from Reason users soon given the ability to track narrow bands to the keyboard and sequencers. First thought is to put Scales and chords to 5-6 tracks and have them “play” enveloped white noise through this device. Almost like the Lexicon/Eventide “resonator” patches.

Demoing tomorrow. I do sound design and make most of my living from my music and mixing others music, so a utility like this is high on my list of wanted items. No wonder you spoke with authority on EQ in our other thread!
if you manage to figure out how to make this work, I’d love to know how. I tried doing basically the same thing, but found the band-pass filters weren’t restrictive enough, and while I could get distinct notes using just very narrow boosts, the amount of gain needed basically trashed the fundamental sound. oddly enough, I didn’t want to “color” the sound so much as use it for very precise filtering.

jimmyklane
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Joined: 16 Apr 2018

Post 15 May 2018

guitfnky wrote:
15 May 2018
jimmyklane wrote:
15 May 2018


Looks very interesting, and is a fantastic addition to the RE landscape. This is one of only TWO RE’s that I am at all tempted to buy....simply because this has an incredible amount of utility. I expect to hear an awful lot of “noise bells” coming from Reason users soon given the ability to track narrow bands to the keyboard and sequencers. First thought is to put Scales and chords to 5-6 tracks and have them “play” enveloped white noise through this device. Almost like the Lexicon/Eventide “resonator” patches.

Demoing tomorrow. I do sound design and make most of my living from my music and mixing others music, so a utility like this is high on my list of wanted items. No wonder you spoke with authority on EQ in our other thread!
if you manage to figure out how to make this work, I’d love to know how. I tried doing basically the same thing, but found the band-pass filters weren’t restrictive enough, and while I could get distinct notes using just very narrow boosts, the amount of gain needed basically trashed the fundamental sound. oddly enough, I didn’t want to “color” the sound so much as use it for very precise filtering.
Yeah, any tonal sound won’t work, you basically need noise because it’s got all frequencies at once. In the video it states we can get a 48dB/octave “skirt” on a BP filter, so you’d make that one semitone wide and “play” it.

With Scales and Chords, you’d have to copy to track and then manually split the MIDI into 5 (or however many) tracks each playing monophonically and drive the pitch from MIDI/CV. I’ve gotten very nice tones from the BP filter in my BSII, and that’s only 24dB/octave....so with a bunch of these inserted you should have a very nice tonal noise.
DAW: Reason 10,

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

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guitfnky
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Post 15 May 2018

jimmyklane wrote:
15 May 2018
guitfnky wrote:
15 May 2018


if you manage to figure out how to make this work, I’d love to know how. I tried doing basically the same thing, but found the band-pass filters weren’t restrictive enough, and while I could get distinct notes using just very narrow boosts, the amount of gain needed basically trashed the fundamental sound. oddly enough, I didn’t want to “color” the sound so much as use it for very precise filtering.
Yeah, any tonal sound won’t work, you basically need noise because it’s got all frequencies at once. In the video it states we can get a 48dB/octave “skirt” on a BP filter, so you’d make that one semitone wide and “play” it.

With Scales and Chords, you’d have to copy to track and then manually split the MIDI into 5 (or however many) tracks each playing monophonically and drive the pitch from MIDI/CV. I’ve gotten very nice tones from the BP filter in my BSII, and that’s only 24dB/octave....so with a bunch of these inserted you should have a very nice tonal noise.
👍🏼 I was using a pretty full-spectrum pad sound as my basis, so, not noise, really, but should have been at least workable, I think. I wanted to have a non-filtered pad, and mix the filtered version in to sort of give the impression that there was a sort of “ghost-lead” melody playing on top. I was thinking of doing multiples too...sort of like using your scales and chords ideas, but instead the different filters moving in parallel to create partials. just couldn’t get it to work, though. I’d love to see what settings you’re using once you get it set up to see where I went wrong.

jimmyklane
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Post 15 May 2018

guitfnky wrote:
15 May 2018
jimmyklane wrote:
15 May 2018


Yeah, any tonal sound won’t work, you basically need noise because it’s got all frequencies at once. In the video it states we can get a 48dB/octave “skirt” on a BP filter, so you’d make that one semitone wide and “play” it.

With Scales and Chords, you’d have to copy to track and then manually split the MIDI into 5 (or however many) tracks each playing monophonically and drive the pitch from MIDI/CV. I’ve gotten very nice tones from the BP filter in my BSII, and that’s only 24dB/octave....so with a bunch of these inserted you should have a very nice tonal noise.
👍🏼 I was using a pretty full-spectrum pad sound as my basis, so, not noise, really, but should have been at least workable, I think. I wanted to have a non-filtered pad, and mix the filtered version in to sort of give the impression that there was a sort of “ghost-lead” melody playing on top. I was thinking of doing multiples too...sort of like using your scales and chords ideas, but instead the different filters moving in parallel to create partials. just couldn’t get it to work, though. I’d love to see what settings you’re using once you get it set up to see where I went wrong.
Ill give it a shot tomorrow morning. I have no client work at all tomorrow and so I can trial the RE and somehow share a refill or something with my results and patches.
DAW: Reason 10,

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

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selig
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Post 16 May 2018

guitfnky wrote:
15 May 2018
if you manage to figure out how to make this work, I’d love to know how. I tried doing basically the same thing, but found the band-pass filters weren’t restrictive enough, and while I could get distinct notes using just very narrow boosts, the amount of gain needed basically trashed the fundamental sound. oddly enough, I didn’t want to “color” the sound so much as use it for very precise filtering.
The ColoringEQ bandpass filters are EXTREMELY restrictive, if I'm following you. In fact, maybe they are TOO restrictive for what you're trying to do?

For example, here is the ColoringEQ bandpass filter compared to the Thor bandpass filter, both with a medium and high Q setting. ColoringEQ in blue, Thor in yellow: you can clearly see how much more narrow and precise the ColoringEQ filter is, including the fact it doesn't boost the signal level when using more narrow Q settings, or cut the signal when using wider Q settings:
Screen Shot 2018-05-16 at 8.33.14 AM.png
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selig
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Post 16 May 2018

guitfnky wrote:
15 May 2018
jimmyklane wrote:
15 May 2018


Yeah, any tonal sound won’t work, you basically need noise because it’s got all frequencies at once. In the video it states we can get a 48dB/octave “skirt” on a BP filter, so you’d make that one semitone wide and “play” it.

With Scales and Chords, you’d have to copy to track and then manually split the MIDI into 5 (or however many) tracks each playing monophonically and drive the pitch from MIDI/CV. I’ve gotten very nice tones from the BP filter in my BSII, and that’s only 24dB/octave....so with a bunch of these inserted you should have a very nice tonal noise.
👍🏼 I was using a pretty full-spectrum pad sound as my basis, so, not noise, really, but should have been at least workable, I think. I wanted to have a non-filtered pad, and mix the filtered version in to sort of give the impression that there was a sort of “ghost-lead” melody playing on top. I was thinking of doing multiples too...sort of like using your scales and chords ideas, but instead the different filters moving in parallel to create partials. just couldn’t get it to work, though. I’d love to see what settings you’re using once you get it set up to see where I went wrong.
Here's a setting to try, but without hearing your input signal I'm not 100% sure this will give you want you're looking for.

Simplest setup is to insert ColoringEQ after the pad and use an EQ band.
•Tune the band to E3:64 and turn on Sequencer Control: Note.
•Increase the Gain on the band to around + 12 dB.
•Click on the Keyboard Input tab (upper left on all devices) to send MIDI to the ColoringEQ and create a track in the sequencer.

That's it, you can now play notes on your keyboard and the EQ will follow.

Basic concepts worth repeating: you can't EQ what's not there.
When playing pads or other pitched sources through the EQ, some notes/pitches won't produce much if any effect if there is no energy in that range. Sometimes you'll hear the adjacent note instead of the one you're playing, since it will be the closest note with any energy. This actually provides a sort of "note filter" effect in that you can't play "wrong" notes. ;)

Interesting things to try:
Use an arpeggiator on the filter (via a Combinator), and feed the arp the same chords as the pad to get a musical filter effect. Try random mode on the arp and various octave settings to get musical notes that are not in any particular order. Try transposing the note data for the filter/EQ for interesting effects. Put the EQ on a parallel track and add delay/reverb for spacier effects.
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guitfnky
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Post 16 May 2018

selig wrote:
16 May 2018
guitfnky wrote:
15 May 2018


👍🏼 I was using a pretty full-spectrum pad sound as my basis, so, not noise, really, but should have been at least workable, I think. I wanted to have a non-filtered pad, and mix the filtered version in to sort of give the impression that there was a sort of “ghost-lead” melody playing on top. I was thinking of doing multiples too...sort of like using your scales and chords ideas, but instead the different filters moving in parallel to create partials. just couldn’t get it to work, though. I’d love to see what settings you’re using once you get it set up to see where I went wrong.
Here's a setting to try, but without hearing your input signal I'm not 100% sure this will give you want you're looking for.

Simplest setup is to insert ColoringEQ after the pad and use an EQ band.
•Tune the band to E3:64 and turn on Sequencer Control: Note.
•Increase the Gain on the band to around + 12 dB.
•Click on the Keyboard Input tab (upper left on all devices) to send MIDI to the ColoringEQ and create a track in the sequencer.

That's it, you can now play notes on your keyboard and the EQ will follow.

Basic concepts worth repeating: you can't EQ what's not there.
When playing pads or other pitched sources through the EQ, some notes/pitches won't produce much if any effect if there is no energy in that range. Sometimes you'll hear the adjacent note instead of the one you're playing, since it will be the closest note with any energy. This actually provides a sort of "note filter" effect in that you can't play "wrong" notes. ;)

Interesting things to try:
Use an arpeggiator on the filter (via a Combinator), and feed the arp the same chords as the pad to get a musical filter effect. Try random mode on the arp and various octave settings to get musical notes that are not in any particular order. Try transposing the note data for the filter/EQ for interesting effects. Put the EQ on a parallel track and add delay/reverb for spacier effects.
nice, sounds similar to what I tried before (using an EQ band was the closest I could get to usable), but probably will sound better than what I was able to wrangle (mangle), since you've obviously got a better ear for this sort of thing than I. I can't wait to give this a shot. appreciate it! :D

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guitfnky
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Post 17 May 2018

selig wrote:
16 May 2018
Here's a setting to try, but without hearing your input signal I'm not 100% sure this will give you want you're looking for.

Simplest setup is to insert ColoringEQ after the pad and use an EQ band.
•Tune the band to E3:64 and turn on Sequencer Control: Note.
•Increase the Gain on the band to around + 12 dB.
•Click on the Keyboard Input tab (upper left on all devices) to send MIDI to the ColoringEQ and create a track in the sequencer.

That's it, you can now play notes on your keyboard and the EQ will follow.

Basic concepts worth repeating: you can't EQ what's not there.
When playing pads or other pitched sources through the EQ, some notes/pitches won't produce much if any effect if there is no energy in that range. Sometimes you'll hear the adjacent note instead of the one you're playing, since it will be the closest note with any energy. This actually provides a sort of "note filter" effect in that you can't play "wrong" notes. ;)

Interesting things to try:
Use an arpeggiator on the filter (via a Combinator), and feed the arp the same chords as the pad to get a musical filter effect. Try random mode on the arp and various octave settings to get musical notes that are not in any particular order. Try transposing the note data for the filter/EQ for interesting effects. Put the EQ on a parallel track and add delay/reverb for spacier effects.
it worked! I realized as I was following your instructions that the only difference between my first attempt and your instructions was that I was boosting way more than 12 db. I was able to get a great sounding result even with my "fundamental" boosted the whole way, the full 24 db...

where I was going wrong initially was I thought you could only hear soloed bands if you were adding saturation to them, which I didn't want. but I read your comment earlier about how you can do that by turning off the master saturation, and then I was able to get my 'multiple band-pass' setup working. I split the original signal off before the EQ so I can mix both together, and it works (and sounds) way better than I expected it to.

I'll try to make a video sometime this weekend showing how I've got it set up, in case anyone else is interested in trying something similar.

appreciate the help! :D

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selig
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Post 17 May 2018

guitfnky wrote:
selig wrote:
16 May 2018
Here's a setting to try, but without hearing your input signal I'm not 100% sure this will give you want you're looking for.

Simplest setup is to insert ColoringEQ after the pad and use an EQ band.
•Tune the band to E3:64 and turn on Sequencer Control: Note.
•Increase the Gain on the band to around + 12 dB.
•Click on the Keyboard Input tab (upper left on all devices) to send MIDI to the ColoringEQ and create a track in the sequencer.

That's it, you can now play notes on your keyboard and the EQ will follow.

Basic concepts worth repeating: you can't EQ what's not there.
When playing pads or other pitched sources through the EQ, some notes/pitches won't produce much if any effect if there is no energy in that range. Sometimes you'll hear the adjacent note instead of the one you're playing, since it will be the closest note with any energy. This actually provides a sort of "note filter" effect in that you can't play "wrong" notes. ;)

Interesting things to try:
Use an arpeggiator on the filter (via a Combinator), and feed the arp the same chords as the pad to get a musical filter effect. Try random mode on the arp and various octave settings to get musical notes that are not in any particular order. Try transposing the note data for the filter/EQ for interesting effects. Put the EQ on a parallel track and add delay/reverb for spacier effects.
it worked! I realized as I was following your instructions that the only difference between my first attempt and your instructions was that I was boosting way more than 12 db. I was able to get a great sounding result even with my "fundamental" boosted the whole way, the full 24 db...

where I was going wrong initially was I thought you could only hear soloed bands if you were adding saturation to them, which I didn't want. but I read your comment earlier about how you can do that by turning off the master saturation, and then I was able to get my 'multiple band-pass' setup working. I split the original signal off before the EQ so I can mix both together, and it works (and sounds) way better than I expected it to.

I'll try to make a video sometime this weekend showing how I've got it set up, in case anyone else is interested in trying something similar.

appreciate the help! :D
Good to hear - this is one of the things I intended with the note tracking feature! I’m making a video showing this (and more) as well, but don’t let that stop you from making your video - the more the merrier. :)


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Voyager
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Post 18 May 2018

No introduction price and May sales for Coloring EQ ?

Image

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selig
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Post 18 May 2018

Voyager wrote:
18 May 2018
No introduction price and May sales for Coloring EQ ?

Image
IMO it's too late for an introduction price and too early for a sale.
Sorry :(
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Post 18 May 2018

selig wrote:
18 May 2018

IMO it's too late for an introduction price



I meant that we even didn't get an introduction price :(

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selig
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Post 18 May 2018

Voyager wrote:
selig wrote:
18 May 2018

IMO it's too late for an introduction price



I meant that we even didn't get an introduction price :(
I used an introduction price with my first product to introduce my company, but otherwise don’t do so.
:)


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Post 18 May 2018

selig wrote:
18 May 2018

I used an introduction price with my first product to introduce my company, but otherwise don’t do so.
:)


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Got it, anyway as i said if not on sale i'll get it anyway. I've tried it and i think it's a great EQ but for me the saturation have almost steal the show :) All i can say is that the original price is totally justified anyway. I'm just a bit pissed off that most of the Re i want to buy aren't on sale so the bill can't be damped a bit plus the wait until May wasn't worth it at the end...argh..

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