DirectX/VST 10-band precise linear-phase parametric equalizer for mastering and re-mastering of complex mixes with unrivaled transparency and free of unwanted sound coloration and transient smearing.
Every mastering engineer knows that equalization of final complex mixes or orchestral recordings with stereo microphones is very critical and limited. Any correction of a single instrument or vocal part influences other instruments and can negatively change their sound characteristics. This is because all classic equalizers change the phase of the fundamentals and their harmonics and the phase shift is frequency dependent.
The LinearPhase PEQ Orange does not shift the phase, it only boosts or cuts the amplitude in a given frequency range. Consequently you can apply much more boost without changing the sound character of your recording. Due to the low-noise filter design in the time domain, the distortions (THD+N) are extremely low ensuring crystal clear, neutral, and uncolored sound.
The LinearPhase PEQ Orange DirectX/VST PlugIn is unique in the world of audio components. Almost all parametric equalizers being used are implemented with filters that accomplish phase shift, e.g. the original signal is remixed with its phase-shifted version. Because the amount of the phase shift is frequency dependent some cancellation or amplification at certain desired frequencies takes place. It works, but with a major disadvantage - the different signal components are spread all over time, so that the time relationship between harmonics in the processed signal is heavily affected. The result is that a nice sharp bass drum becomes slurred and muddy and vocal tracks become strident or brittle. Algorithmix is proud to offer you a true remedy against difficult equalizing tasks, the LinearPhase PEQ Orange PlugIn, a linear-phase equalizer which can be handled exactly like its classic predecessors, but cannot be "heard".
The LinearPhase PEQ Orange successfully copes with sonic problems that cannot be solved with any classical equalizer without side effects. You can boost lower frequency regions by even 10dB without mud or slush and with no loss of transients at all. You can remove the sibilance from a vocal with a sharp notch without affecting the whole mix like occurs when using analog or IIR-based digital EQ.
LinearPhase PEQ Orange better preserves the time relationships of harmonics in the original waveform. This translates to smoother top end, sweeter and bigger midrange, and a clearer more distinct bottom end as compared with phase-shifted EQ. The resultant sound seems less processed, more like it occurred naturally in the air in front of the microphone. The mixes become clear and transparent, the instruments more defined and realistic.
The LinearPhase PEQ Orange works in the time domain. It sounds more analytical than its brother, the LinearPhase PEQ Red, and therefore is specially recommended for difficult mastering and re-mastering tasks on dense mixes. It performs with up to 384 kHz sampling frequency and allows extended frequency setup up to 80 kHz, thus being ideally applicable for high-resolution DSD post-processing, including its ultrasonic region.
Features:
- Flawless operation with up to 384 kHz sampling frequency, thus perfectly suitable for high-resolution DSD post-production
- Equal delay for every frequency, independent of filter settings, perfectly preserving the time relationship of harmonics in the original signal
- No phase distortions and therefore no signal dispersion and transient smearing
- No unwanted sound coloration; more clarity, transparency, and definition
- Extended center frequency setup up to 80 kHz covering ultrasonic range in DSD applications
- 10 bands with five freely assignable parametric filter types: bell, low-shelf, high-shelf, low-cut, and high-cut
- Adjustable Q-factor for shelving and cut filters
- Extremely low-noise and low-distortion linear-phase filter algorithms
- Possibility to overlap several low-cut and high-cut filters to get desired brick wall characteristics
- Very low-noise and low-distortion oversampling technique for getting analog-like filter characteristics when working with low sampling frequencies: 44.1 and 48 kHz; clearly perceptible when equalizing higher frequencies
- Extremely low noise and low nonlinear harmonic distortion
- Resizable frequency-response display for high-precision adjustments
- Parameter editing via numerical fields or directly on the graphical display
- Automatic latency compensation (in Sequoia and Samplitude only)
- Complete setup exchange among several simultaneously opened PlugIns
- All internal calculations with double floating-point accuracy (80 bits)
Applications
- All mastering tasks on complex mixes including DSD post-processing
- Post-production of orchestral and chorus stereo recordings
- Equalization of instrument group mix-downs (e.g., strings, drums, brass section)
- Correction of sonically unbalanced complex recordings without unwanted sound coloration
- Clearing up dense mixes
- Re-mastering old recordings
- Removal of ultrasonic disturbances from DSD recordings
Orange vs. Red
LinearPhase PEQ Red
LinearPhase PEQ Red works in frequency domain, i.e. the input signal is first continuously transformed to its spectral representation. Special measures have been taken to ensure high resolution for low frequencies while keeping time resolution untouched. Unlike other frequency-domain filters, this avoids drums or other instrument containing strong transients to be blurred. In addition, extremely high computing resolution has been used to avoid any cumulative truncating effects typical in complex frequency transformations. This results in untouched sound quality.
Experts say that most of digital equalizers do not sound like their analog predecessors, especially when working with 44.1 or 48 kHz sampling frequency. Spectrum modifications in high-frequency region sound as improperly balanced. The reason is the so called frequency warping which makes the bells asymmetric and high shelving and high-cut filters much steeper as theoretically adjusted in the parameter fields. To make the filter in LinearPhase PEQ Red analog sounding, Algorithmix applied special corrections to the original digital filters making them look exactly like their analog reference.
There are a few other PlugIns on the market using frequency-domain techniques. Most of them apply relatively low frequency resolution and claim that frequency response mathematically interpolated between a few set up points or just free-hand drawn is the best solution ever. This may be true for some industrial applications, but such filters don’t sound musically. Shapes of the filters in the LinearPhase PEQ Red exactly match the best analog references that sonic quality is indisputable, also for standard sampling frequencies: 44.1 and 48 kHz.
LinearPhase PEQ Red features the Continuous Slope Filter™ technology, an Algorithmix® proprietary and worldwide unique filter design. It allows extremely flexible shelving and cut filters. Low shelving (LS-CS) and high shelving (HS-CS) continuous-slope filters emulate any critically damped shelf in the range from 1st to 4th order including all imaginary filters in-between. Imaginary, because critically damped filters offers only slopes in 6 dB/octave steps: 6, 12, 18, 24 and so on. Algorithmix’s continuous-slope low/high-cut filter (LHC-CS) performs similarly. It can continuously change its slope from a critically damped 4th order low-cut equivalent, through 3rd, 2nd, and 1st order down to zero, and then turn into critically damped high-cut being a mirror of the continuous-slope low-cut at the same cut-off frequency.
Such in-between frequency-response filter characteristics, especially with slopes below 6 dB/octave (e.g. 2.2 dB/octave) are absolutely impossible to implement with classical filter technology. The only work-around way would be to cascade many 1st order filters with specially weighted amplitudes to get the overall amplitude envelope lower then 6 dB/octave (a typical example for this is the analog pink-noise filter). Such cascaded filter, however, deliver quite wavy frequency-response characteristic and are tainted with phase-shift. In opposite, the LHC-CS filter from Algorithmix® allow very gentle and smooth spectrum changes without any phase shift.
In general, the LinearPhase PEQ Red sounds a bit softer than its brother, the LinearPhase PEQ Orange. Its extremely flexible shelving filters are particularly popular for gentle brightening (highs) and enlarging (lows) effects in dense mixes, especially if traditional PEQs fail.
LinearPhase PEQ Orange
LinearPhase PEQ Orange works in time domain using proprietary filter technology. It is not based on FIR filters because these have some known problems like bad resolution for low frequencies, difficulties in emulating shapes of musical sounding filters, a lot of efforts for seamless parameter update, and relatively high noise floor when keeping the filter reasonably short. Algorithmix used a special kind of normally non-causal forward/backward filter which has been respectively modified to be causal. An extremely high computing resolution is used to achieve a filter dynamic below the hearing threshold and thus crystal clear sound.
Like already mentioned above for the Red, experts say that most of digital equalizers do not sound like their analog predecessors, especially when working with 44.1 or 48 kHz sampling frequency. Spectrum modifications in the high-frequency region sound as improperly balanced. The reason is the so called frequency warping which makes the bells asymmetric and high shelving and high-cut filters much steeper as theoretically adjusted in the parameter fields. With some experience this problem can be partly compensated by a parameter re-adjustment, however, the bell asymmetry cannot be avoided this way.
To make the filter automatically sound more analog for 44.1 and 48 kHz, Algorithmix has enhanced the LinearPhase PEQ Orange with low-noise and low-distortion oversampling technique. There are two different oversampling filters optimally calculated for 44.1 kHz and 48 kHz. They are automatically selected according to the sampling frequency of the input signal. The THD+N of these filters is below the noise floor of a perfectly recorded 24-bit audio material. This means that the oversampling process absolutely does not degrade even perfect 24-bit quality signals. Therefore they highly recommend always keeping the oversampling filter on.
In general, the LinearPhase PEQ Orange sounds more analytical than its brother, the LinearPhase PEQ Red, and therefore is specially recommended for difficult mastering and re-mastering tasks on dense mixes.
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Frequently Asked Questions about Academic/Theological Pricing
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Our price: $899.00
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PC
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Mac
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Minimum configuration (one real-time DirectX/VST PlugIn loaded):
- Windows 9x/Me/NT4/2000/XP Home or Professional
- Pentium II 500 MHz
- 64 MB
- 1024x768 pixels resolution with true color (24bit or 32bit)
- any compatible DirectX/VST Host Editor
- USB port for hardware dongle
- Sequoia/Samplitude 7.x, 8 allows fully automated PlugIn latency compensation
Recommended configuration (more than one real-time DirectX/VST PlugIn loaded):
- Windows 2000/XP Home or Professional
- Pentium IV or AMD Athlon XP with at least 1 GHz (resolution low), 3,6 GHz (resolution Xtra)
- 512 MB
- 1280x1024 pixels resolution with true color (32bit is usually fastest)
- any compatible DirectX/VST Host Editor
- USB port for hardware dongle
- Sequoia/Samplitude 7.x, 8 allows fully automated PlugIn latency compensation
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