Re: Selig ColoringEQ In The Shop!
Posted: 11 Feb 2018
You're getting too colorful. Stop shining that. It's too bright.
Oh my god! It´s alive!
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?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 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.Voyager wrote:
You right, since i tried it some time ago i just forgot those solo button function !
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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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.
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 wrote: ↑15 May 2018Looks 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!
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.guitfnky wrote: ↑15 May 2018if 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 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!
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 wrote: ↑15 May 2018Yeah, 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.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.
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.
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.guitfnky wrote: ↑15 May 2018I 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 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.
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?guitfnky wrote: ↑15 May 2018if 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.
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.guitfnky wrote: ↑15 May 2018I 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 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.
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!selig wrote: ↑16 May 2018Here'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.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.
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...selig wrote: ↑16 May 2018Here'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.
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.guitfnky wrote: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...selig wrote: ↑16 May 2018Here'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.
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!