1. Dmg Compassion Oversampling High Frequencies Definition
2. Dmg Compassion Oversampling High Frequencies Chart
3. Dmg Compassion Oversampling High Frequencies Online
4. Dmg Compassion Oversampling High Frequencies Youtube
5. Dmg Compassion Oversampling High Frequencies Definition

Compassion doesn't have frequency-dependent ratio, harmonics, or Inertia. And I don't know how I ever functioned up to this point without inertia control. So we have our winner for greatest plugin on the planet for all times. Both conventional stereo and M/S operation are supported, and there are some unique bells and whistles too. The resonant frequency of the shelving equalisers can be separated from the turnover frequency, so that at high Q values you can position the resonant peak exactly as you want it.

In signal processing, oversampling is the process of sampling a signal at a sampling frequency significantly higher than the Nyquist rate. Theoretically, a bandwidth-limited signal can be perfectly reconstructed if sampled at the Nyquist rate or above it. The Nyquist rate is defined as twice the bandwidth of the signal. Oversampling is capable of improving resolution and signal-to-noise ratio, and can be helpful in avoiding aliasing and phase distortion by relaxing anti-aliasing filter performance requirements.

A signal is said to be oversampled by a factor of N if it is sampled at N times the Nyquist rate.

Motivation[edit]

There are three main reasons for performing oversampling:

Anti-aliasing[edit]

Oversampling can make it easier to realize analog anti-aliasing filters.^[1] Without oversampling, it is very difficult to implement filters with the sharp cutoff necessary to maximize use of the available bandwidth without exceeding the Nyquist limit. By increasing the bandwidth of the sampling system, design constraints for the anti-aliasing filter may be relaxed.^[2] Once sampled, the signal can be digitally filtered and downsampled to the desired sampling frequency. In modern integrated circuit technology, the digital filter associated with this downsampling are easier to implement than a comparable analog filter required by a non-oversampled system.

Resolution[edit]

In practice, oversampling is implemented in order to reduce cost and improve performance of an analog-to-digital converter (ADC) or digital-to-analog converter (DAC).^[1] When oversampling by a factor of N, the dynamic range also increases a factor of N because there are N times as many possible values for the sum. However, the signal-to-noise ratio (SNR) increases by ${\displaystyle \sqrt{N}}$, because summing up uncorrelated noise increases its amplitude by ${\displaystyle \sqrt{N}}$, while summing up a coherent signal increases its average by N. As a result, the SNR increases by ${\displaystyle \sqrt{N}}$.

For instance, to implement a 24-bit converter, it is sufficient to use a 20-bit converter that can run at 256 times the target sampling rate. Combining 256 consecutive 20-bit samples can increase the SNR by a factor of 16, effectively adding 4 bits to the resolution and producing a single sample with 24-bit resolution.^[3] While with N=256 there is an increase in dynamic range by 8 bits, and the level of coherent signal increases by a factor of N, the noise changes by a factor of ${\displaystyle \sqrt{N}}$=16, so the net SNR improves by a factor of 16, 4 bits or 24 dB.

The number of samples required to get ${\displaystyle n}$ bits of additional data precision is

${\displaystyle \text{number of samples}=(2^n{)}^2=2^{2n}.}$

To get the mean sample scaled up to an integer with ${\displaystyle n}$ additional bits, the sum of ${\displaystyle 2^{2n}}$ samples is divided by ${\displaystyle 2^n}$:

${\displaystyle \text{scaled mean}=\frac{\sum _{i=0}^{2^{2n}-1}{2}^n{\text{data}}_i}{2^{2n}}=\frac{\sum _{i=0}^{2^{2n}-1}{\text{data}}_i}{2^n}.}$

This averaging is only effective if the signal contains sufficient uncorrelated noise to be recorded by the ADC.^[3] If not, in the case of a stationary input signal, all ${\displaystyle 2^n}$ samples would have the same value and the resulting average would be identical to this value; so in this case, oversampling would have made no improvement. In similar cases where the ADC records no noise and the input signal is changing over time, oversampling improves the result, but to an inconsistent and unpredictable extent.

Adding some dithering noise to the input signal can actually improve the final result because the dither noise allows oversampling to work to improve resolution. In many practical applications, a small increase in noise is well worth a substantial increase in measurement resolution. In practice, the dithering noise can often be placed outside the frequency range of interest to the measurement, so that this noise can be subsequently filtered out in the digital domain—resulting in a final measurement, in the frequency range of interest, with both higher resolution and lower noise.^[4]

Noise[edit]

If multiple samples are taken of the same quantity with uncorrelated noise^{[note 1]} added to each sample, then because, as discussed above, uncorrelated signals combine more weakly than correlated ones, averaging N samples reduces the noise power by a factor of N. If, for example, we oversample by a factor of 4, the signal-to-noise ratio in terms of power improves by factor of 4 which corresponds to a factor of 2 improvement in terms of voltage.

Certain kinds of ADCs known as delta-sigma converters produce disproportionately more quantization noise at higher frequencies. By running these converters at some multiple of the target sampling rate, and low-pass filtering the oversampled signal down to half the target sampling rate, a final result with less noise (over the entire band of the converter) can be obtained. Delta-sigma converters use a technique called noise shaping to move the quantization noise to the higher frequencies.

Example[edit]

Consider a signal with a bandwidth or highest frequency of B = 100 Hz. The sampling theorem states that sampling frequency would have to be greater than 200 Hz. Sampling at four times that rate requires a sampling frequency of 800 Hz. This gives the anti-aliasing filter a transition band of 300 Hz ((f_s/2) − B = (800 Hz/2) − 100 Hz = 300 Hz) instead of 0 Hz if the sampling frequency was 200 Hz. Achieving an anti-aliasing filter with 0 Hz transition band is unrealistic whereas an anti-aliasing filter with a transition band of 300 Hz is not difficult.

Oversampling in reconstruction[edit]

The term oversampling is also used to denote a process used in the reconstruction phase of digital-to-analog conversion, in which an intermediate high sampling rate is used between the digital input and the analogue output. Here, digital interpolation is used to add additional samples between recorded samples, thereby converting the data to a higher sample rate, a form of upsampling. When the resulting higher-rate samples are converted to analog, a less complex and less expensive analog reconstruction filter is required. Essentially, this is a way to shift some of the complexity of reconstruction from analog to the digital domain. Oversampling in the ADC can achieve some of the same benefits as using a higher sample rate at the DAC.

See also[edit]

Notes[edit]

1. ^A system's signal-to-noise ratio cannot necessarily be increased by simple over-sampling, since noise samples are partially correlated (only some portion of the noise due to sampling and analog-to-digital conversion will be uncorrelated).

References[edit]

1. ^ ^abKester, Walt. 'Oversampling Interpolating DACs'(PDF). Analog Devices. Retrieved 17 January 2015.
2. ^Nauman Uppal (30 August 2004). 'Upsampling vs. Oversampling for Digital Audio'. Retrieved 6 October 2012. Without increasing the sample rate, we would need to design a very sharp filter that would have to cutoff [sic] at just past 20kHz and be 80-100dB down at 22kHz. Such a filter is not only very difficult and expensive to implement, but may sacrifice some of the audible spectrum in its rolloff.Cite journal requires journal= (help)
3. ^ ^ab'Improving ADC Resolution by Oversampling and Averaging'(PDF). Silicon Laboratories Inc. Retrieved 17 January 2015.
4. ^Holma, Tomlinson (2012). Sound for Film and Television. CRC Press. pp. 52–53. ISBN9781136046100. Retrieved 4 February 2019.

Further reading[edit]

• John Watkinson. The Art of Digital Audio. ISBN0-240-51320-7.

Drawing on 50 years of EQ heritage, EQuilibrium is a custom-designed power tool for audio professionals.

User-adaptable design, a cutting edge feature set, built for tackling critical mix/mastering tasks.

This sets a new standard in EQ. See for yourself, download the demo.

• This could well be the greatest EQ ever made - it's certainly the most versatile and it's definitely revolutionary. Utterly essential. 10/10.

• Equilibrium leaves all other EQ plug-ins in the dust

• This is an incredible equalizer. There is no loss of transparency in the Equilibrium LP compared with MP, none whatsoever that I can hear. Equilibrium has changed all my assumptions about the sound of LP equalizers.

  Bob Katz

• Equilibrium is easily the most forward thinking and most important addition to my toolbox to date. Unparalleled flexibility, versatility and sonics make this a must have for everyone serious about the art of making records.

  S. Husky Höskulds

Overview

• Massively flexible EQ suitable for all critical professional applications
• Audio Engine can be incredibly low CPU usage, or incredibly high for mastering applications
• EQ features pristine digital curves, plus circuit models of vintage EQs, and engineering filters
• Completely reconfigurable UI with set-up wizard to suit to your specific workflow
• Extensive routing, grouping, channel and metering control
• Extensive analyser functionality, including 1/3 octave, 1/12 octave, spectrograph
• Even in lowest CPU mode, generates super-high-quality prototypes - clear undistorted top-end
• In FIR mode, Linear, Analogue, Minimum, Zero-Latency Analogue or even Free phase control
• 32 bands of EQ, Q 0.1 -> 50, +/-36dB range
• Each band can be Peak, HPF, LPF, High Shelf, Low Shelf or Notch
• In stereo, each bank can process Mid, Side or the full stereo image
• Surround support for channels groupings in DTS
• Fully parametric filters (high and low-pass), 6/12/18/24/30/36/42/48db/oct
• Windows VST, VST3 and AAX as 32+64bit, RTAS 32bit
• Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit

Sound

• Circuit models of vintage EQs from history, model numbers including: 4000, 3 (4 modes), 110, 550, 88, 32, 250
• Filters include: Coincident, Butterworth, Chebyshev, Bessel, Critical, Legendre, Elliptic, Allpass types
• First-order, second-order, vintage, and tilt shelves
• Classic DMG Bells and notches, with a +/-36dB range, and a Q range from 0.1 to 50
• Classic DMG Shelves which let you move the resonance above or below the curve
• Classic DMG Filters at 6/12/18/24/30/36/42/48 db/octave, sweepable resonance
• M/S processing mode, allows you to process Mid, Side or the Stereo image
• L/R processing mode, for independent Left and Right EQ
• Surround sound support upto 7.1 DTS, with channel grouping matrix, and per-pair M/S processing
• Per-band phase control, plus quick access to Linear, Analogue and Minimum phase modes
• Extensive Impulse Response design controls, including a selection of parametric windows, length and padding

Vision

• Flexible, modular, configurable UI
• Big, clear, antialiased graph
• Hi-res Spectrum analyser with multiple modes
• Range, to scale the EQ response, both +ve and -ve
• Frequency shift, to allow you to retune the response
• Configurable multi-channel metering, supporting K-metering and variable ballistics
• 8 banks of A/B
• Full preset management system
• Undo/redo
• Autolisten mode, for quick finding/adjustment of frequencies
• Clip LED

Dmg Compassion Oversampling High Frequencies Definition

Windows System Requirements

• Vista / Windows 7 / Windows 8 / Windows 10
• 32bit or 64bit
• ProTools 7 or newer.
• A host that supports VST or VST3, such as:
  • Steinberg Cubase
  • Steinberg Nuendo
  • Steinberg Wavelab
  • Sony ACID Pro
  • Ableton Live
  • Cockos Reaper
  • Magix Sequoia
  • Magix Samplitude
  • AudioMulch

Mac OS System Requirements

• OS X 10.7 or newer, including Catalina (10.15)
• Intel Mac
• ProTools 7 or newer.
• A host that supports VST, AU or VST3, such as:
  • Apple Logic (32bit or 64bit)
  • Apple Garageband
  • Steinberg Cubase
  • Steinberg Nuendo
  • Ableton Live

Specifically not supported (might work, but I can't test/support these platforms): Windows 95/98/XP, OS X 10.0,10.1,10.2,10.3,10.4,10.5,10.6

1.59 -> 1.60

• Graph zoom correctly restored on closing and reopening the plugin UI.
• Fix for hanging on resume with Cubase/Nuendo ASIO guard active.
• Fix potential crash on instantiating mono VST3 with out of range analyser sources.
• Fix for band frequencies sometimes loading incorrectly until UI is opened when Extended Freqs enabled.
• Fix for no end edit call after switching processing mode (was breaking plugin bypass in Studio One).
• Improved undo of mouse wheel action.
• Fix font rendering on non-retina displays.

1.58 -> 1.59

• Improved HiDPI support
• Fix HiDPI fullscreen
• Support VST2 getEffectName for some rare hosts
• Fix playback of stale audio when leaving soft bypass in FIR mode
• Fix rare UI-doesn't-redraw-correctly bug with buggy graphics card drivers on Windows

1.57 -> 1.58

• Fix AU validation in old not-really-supported versions of Logic
• Reaper key entry improvements
• HiDPI support in Cubase and Studio One on Windows
• Improvements with discrete parameters drag/mousewheel
• Fix crash in EQuilibrium padded zero latency analogue mode
• Fix obscure bandstrips don't update issue in EQuilibrium
• Background compute thread tweaks
• Fix sync of bypass states
• Autogain stored with AB banks
• Keep band strip order stable when sorting
• Fix for recalculation issues with long IRs
• Fix disappearing meters

1.56 -> 1.57

• Improved zero-latency analogue mode with more accurate Freq response at high frequencies (older presets will not be affected)
• Move IR calculation into separate thread for smooth UI interaction with CPU-intensive DSP settings
• Fix frequencies recalling incorrectly when Extended Frequencies off
• Fix nodes jumping when dragging on keyboard
• Fix Q/Gain->Q/Shift values going out of sync when editing multiple selected bands
• Type 1 tooltip fixes
• Fix for control not losing focus after resetting parameter to default
• Fix autolisten of deleted band after deleting from bandstrip
• Ensure impulse response graph is refreshed when changing DSP settings
• Fix labelling of lowest frequency when deep zoomed
• Fix crash when setup window open in more than one instance
• Fix for frequency value being stored incorrectly if extended frequencies on and sample rate changed after creating band
• Fix crash when inserting on a mono clip in Wavelab
• Fix for bandstrip sometimes not appearing after double-clicking on graph to create a band
• Grouped undo when editing parameters for multiple selected bands
• Fix crash if default analyser feed set to invalid channel number
• Fix for bandstrip not showing after undoing delete band
• Fix full screen and window resizing issues in Reaper
• Fix bug with butterworth peak at low frequencies
• Pro Tools EQ curve now works
• Fix pop when exiting autolisten if in parallel mode
• Fix for not being able to edit phase of right/side bands in free phase mode
• Fix gain compensation issue with filters in digital+ mode
• Added global preference to disable VST gestures, for the case where begin/end edit calls to host are processed slowly
• Mac build now requires 10.7 or later
• Improve menu position when opening a menu would cause it to appear offscreen
• AAX Mac window focus improved
• Fix potential crash when file saving fails
• Fix potential crash when closing UI
• Fix crash with text entry on touchbar MacBook Pro
• Prevent Cubase/Nuendo right-click menu from appearing when right-clicking on a clutter bar button that accepts right-clicks
• Installer searches for existing VST plugins folder for 64-bit plugins on Windows if run for first time
• Correctly sign Windows installers with Codesigning cert
• Improve text and layout for Windows installers
• Improve install descriptions and logo for Mac installers

1.55 -> 1.56

• OpenGL improvements
• Reduce graphics overheads
• Improve text editing, tab and backtab commit entered value and select next/prev, esc cancels text editing
• Improve VST3 automation
• Import AU,AAX,VST3 tracknames
• Improve mousewheel handling on windows
• Improve keyboard handling,
• Improve automation resolution in Logic X
• Fix bug where Digital+Phase mode could cause channel misalignment
• Misc crash fixes (reaper multichannel, changing band type, creating/deleting bands, auto-sorted frequency)
• Parallel bands no longer pop when bypassed
• Fixes and improvements to preset/bank load/save
• Presets can now be reloaded correctly from the factory root folder
• Autolisten with fixed gain locks gain whilst adjusting
• Extra autolisten Q values of 6 and 3.
• New autolisten enable 'toggle' mode, (ctrl dbl)+click to engage and disengage (note: for graph nodes, mouse must be moved when engaging if 'Right-Click' set to 'Invert' or 'Bypass')
• Various other autolisten fixes and improvements
• Support Avid AAX EQ curve
• Fix for 'extended frequency range' causing incorrect frequency reload in Cubase
• Alt-click 'Autogain' to disengange and apply autogain to the channel faders
• Update pagetables for Avid S6
• Fix where AB onscreen would not reflect current AB bank
• Ctrl-click defaults to inverting selected band bypasses
• Improved support for different surround formats for AU and VST3
• Improvements to fullscreen behaviour (esc to close window. Passthrough of all other keys to host)
• Can bypass and delete nodes from keyboard view with (ctrl dbl)+click (bypass) and alt+(ctrl dbl)+click (delete)
• Improve scaling of gains when dragging multiple bands
• Fix bug with 'On Create' sorting being too enthusiastic
• Fixes for redo behaviour
• Fix crash when loading plugin in bypassed state

Dmg Compassion Oversampling High Frequencies Chart

1.54 -> 1.55

• Fix bug with ZL Analogue Phase mode + independent MS band shifting stereo image
• Fix pops when engaging/disengaging autolistening with Parallel mode active
• Fix 32bit Carbon UIs on OSX
• Fix bug with reinstatement of deleted bands when selected and bypassing a band.
• Fix bug with control-lock for deleted bands.

1.53 -> 1.54

• Fix crash with Cocoa UI closure.
• Fix crash whilst dragging free-resize UI.
• Fix UI size in hosts that were showing cut-off sections.
• Improve Fullscreen on mac.
• Fix crash with long buffer render DSP settings.

1.52 -> 1.53

• Rework Windows FullScreen.
• Fix invisible GUI bug.
• Fix bug with Preset menu.
• Default OpenGL to Off.
• Fix 'white squares instead of knobs' bug.
• Improve latency reporting for offline VST3 rendering.
• Improve Surround support in Reaper.

1.51 -> 1.52

• Update AU validation.
• Allow all AUs to use Cocoa UIs on 32bit mac.
• Improve speed of session recall for AUs.
• Fix mousewheel on 2nd screens.
• Compensate latency with soft bypass for long IRs.
• Clear 'Save As Default' button after click.
• Support text entry for multiple linked bands.
• Reduce Q for autolistening filters.
• Enable OpenGL.
• Allow disabling of OpenGL via pref - requires session reload.
• Fix bug with fullscreen in Reaper.
• Fullscreen opens on current screen.

1.50 -> 1.51

• Fix bug with AAX automation whereby discrete parameters could jump.
• Fix bug with mousewheel on windows to left of main screen on windows.
• Improve determinism of automation when rendering.
• Improve handling of OS load dialog for presets.
• Improvements for latency reporting both realtime and offline.
• Space no longer closes fullscreen. Use escape.
• Ensure Digital+Phase preference correctly propagated with 'propagate to all'
• Improve 'tooltips follow adjustment' preference.
• Improve channel linkage handling.
• Improve handling of 6db/oct APF/Elliptic filters.
• In 'always sort' preference, keep bands sorted after undo/redo.
• Manual updates.

1.08 -> 1.50

• Fullscreen mode.
• Free-drag resize mode.
• Parameter lock option with shift+alt+click.
• Render-DSP settings, can be chosen to be used for rendering.
• Autogain feature with 4 weightings and M/S balance mode.
• Imports banks exported from EQuality/EQuick.
• Digital+Phase mode.
• Autolisten with knobs and textboxes on right/alt-drag.
• Added preferences for keeping band strips in frequency order.
• Channel configuration can be selected by clicking channel strips.
• Option to propagate all UI settings to all instances in the session.
• Option to propagate all DSP settings to all instances in the session.
• Option to propagate all Render-DSP settings to all instances in the session.
• Per-instance MIDI input enable/disable (imports old global preference).
• Mousewheel for subtypes
• Duplicated band strips are positioned next to the original
• Fix bug with A/B in AAX.
• Fix AAX level meters.
• Fix analyser source reload
• Accept , in place of . for numeric entry
• Entering text values for channel gain respects linkage
• New bands are created matching the current EQ channel view
• Improved labelling of meter channels in surround
• Graph zoom/setup settings are saved and reloaded
• Yellow meter peak pref.
• Improved Simple/Precise number formats.
• Improved DSP for Flat-Top peak with wide Q values.
• Allow graph tooltip frequencies to be in note format.
• Preference for tooltips to follow changes rather than mouse.

1.07 -> 1.08

• Tidying and optimisation.
• Reduce saved preset sizes further.
• Fix crashes with undo/redo.
• Fixes for Sonar.
• Fix automation of discrete parameters for PT11 AAX.
• Fix samplerate issues in Wavelab for VST3.
• Remove AAX GR meter.
• Fix 'true Q' preference.
• Fix 'FX Start' preset.
• Fix rare crash on setup wizard completion.
• Fix recall of filter type buttons.

1.06 -> 1.07

• Fix bug affecting reloading of settings
• Fix issues with Windows 32bit AAX and ProTools 10

1.05 -> 1.06

• Experimental preference to allow extended band frequency range at higher samplerates.
• Optimise redraw speed.
• Grouped Undo/Redo.
• Fix rare crash bugs.
• Automating bypass buttons with shortcut in AAX fixed.
• Fix 4th order shelves in parallel mode.
• Fix pops with some band types.
• Fix 'fiddly' gain dragging issue.
• Fix Meter Ballistics pref.
• Improve handling of Avid control surfaces.
• Fix crash with loading corrupt presets.
• Fix obscure crash bug related to Analyser usage.
• Fix obscure UI bug with mouse in specific location while preset loading.
• Versioning display for binaries.
• Significant reduction in load/save times.
• All-round optimisation and tidying.
• Ceased support for 10.4 and PPC. 10.5/Intel now required.
• Improvements for RTAS versions.
• Fix samplerate related issues for AU.
• Improvements for AAX Automation.
• Improvements for redraw strategy on OSX.
• Improvements for UIs for AU+Cocoa.
• Fix mousewheel handling on Windows.
• Fix UI resizing in Live 9 Mac.
• Fix crash when closing UI for Cocoa AUs
• Move Windows presets to My Documents to improve Win7/8 usage.
• Added warning box if file save/load fails.

1.04 -> 1.05

• AAX2.0 and PT11 compatibility.
• Small manual update
• Fix Butterworth and 4kg shelves.
• Fix Logic Surround layout
• Fix tooltip fadeout.
• Fix spurious locked-in-autolisten bug.
• Added 8k2 peak..
• Added 4ke peak.. (brown/black CT in/out modes)
• Fix crash bug with AAX2.0 AudioSuite in PT11
• Added pref to show meter readouts as peak or live. (peak is default)
• Added new Units presets
• Preference to control compression for presets/session saves.

Dmg Compassion Oversampling High Frequencies Online

Mac os x el capitan dmg file download. 1.03 -> 1.04

• Fix SaveAs crash in Logic (crash in save/load under rare circumstances)
• MIDI Preference defaults to OFF for new installs.
• Rework selection. Now grouped bands form a group independent of current selection.
• Preference added to disable band linking completely.
• Fix keyboard note readout to stay onscreen.
• Fix trivial graphical glitch on windows.
• Don't create a submenu for Notch bands.
• Fix memory leak for AAX.
• Fix clicking with coincident/butterworth in Digital+ mode.
• Fix pops with 4kg lowshelf.

1.01 -> 1.03

• Fix display of SetupWindow menu
• Fix pops with VST3 version
• Fix VST3 surround support in Cubase/Nuendo
• Add Rectangular/Parametric window type
• Imported analyser curves get a different colour
• Preserve selective-load flags
• Normalize FlatTop window (to avoid level jumps)
• Fix Mac RTAS version
• Improve HPF performance
• Move graph numbers to highest layer
• Fixed crash on opening Setup Wizard
• Fixed crash on completing Setup Wizard

1.00 -> 1.01

• Windows switch to GDI (fix XP support and all manner of graphics-related oddness)
• Fix crash with Analyser menu
• Fix Alchemy and Pultec presets
• Fix Digital+ mode pops and clicks
• Fix Digital+ mode cancellation
• Rebuild preset menu on preset save
• Fix Windows RTAS and AAX versions

Besides adjusting gain, EQ is the most commonly used process in any audio workflow. Yet it's been years since there was a radical change in how EQs are designed. I've been a student of EQ design my entire career - I was even designing EQs before I started at Focusrite!

I wanted to make a bold statement about what the future should look like - about reclaiming all that was good about the past, and simply adding more.

The EQuilibrium design process started with thinking about what the different facets of an EQ are. We decided that the different facets are these: Curves, Audio fidelity, Interface, Routing. So we looked at each facet individually, and took them deeper.

The Curves are fascinating - I've spent years poring over schematics, collecting transfer functions to find out what it is that makes certain EQs so special. Gain-Q interactivity is one, Gain-frequency interactivity another. Or just interesting settings that bring some vibe. Understanding what curves and interactions have stayed with us over the decades tells us a lot about what we use EQs to achieve. Parallel and series configurations are fascinating too.

Audio fidelity is a real passion of mine - so I revamped the EQuality audio engine to allow a further layer of control; the IIR mode replaces Digital mode in EQuality - that was a bad choice of name, since the entire point of it is that it sounds indistinguishable from the analogue, whilst using the minimum possible amount of CPU usage. Digital+ now has a resizable +, in that you can configure the degree of compensation, and freely tune it. The Phase modes have been revamped entirely - now you can assign phase for each band independently, tune the windowing, and there are graphs for everything, so if you're a mastering engineer wanting to control ringing, you can see the ringing clearly, and what's affecting it!

Interface we've gone perhaps a little overboard with. There's really no grand consensus on how you want to interact with an EQ, so we made it fully configurable. Graphs, knobs, keyboards, textboxes, tooltips, the whole gamut is in there, and can be arranged to suit you. The degree of UI reconfiguration is so extreme we've built a setup wizard, which must be a first for an EQ.

Dmg Compassion Oversampling High Frequencies Youtube

Routing is interesting too. There are scant few fully surround-capable EQs, and it seemed silly not to support routing flexibility to its fullest. For stereo usage there's the simple familiar M/S or L/R configuration, but for surround there's full channel grouping support. We've added per-channel metering, with gains, phase, solo/mute and linkage, so you have half a mixer in there too.

Dmg Compassion Oversampling High Frequencies Definition

For a few years, I've felt like it was time for a revolution in EQ - no more being held back by the bizarre requirement for rack-ears and photorealistic knobs. It's not photos of gear that bring vibe - it's the soul, the curves! So that's what we've built. A surfeit of functionality predicated on the curves of the greatest EQs from times past.

- Dave Gamble, 2013