There are also conventional output level meters and controls for adjusting input and output levels. In all cases, the user can set the maximum amount of cut or boost to be applied via an intuitive graphic display that shows the real‑time EQ curve and the cut or boost limits. The shift EQs have both boost and cut at different frequencies and their width may be adjusted. On offer are low and high shelving filters, peak bands, band‑pass filters, high‑pass, low‑pass, bass‑shift and presence‑shift.
Solo and Mute buttons for the Mid and Sides signals make it more obvious what the processor is doing, and there's a wide selection of useful EQ shapes in addition to the standard, variable‑width bell curve.
The EQ curve can be set to cut or boost signals that exceed the threshold the former would be used in typical applications such as de‑essing or de‑popping.
The higher the Factor setting, the more assertively the EQ boost or cut comes in once the signal has crossed the threshold. Both the 'M' and 'S' sections have separate Attack and Release controls to determine how quickly the EQ change comes in and out once the signal passes the threshold.Ī further addition to the control set is the so‑called Factor process, which appears to adjust the effective 'ratio' of the dynamic processing, just as a compressor ratio control determines how the gain control comes in once the signal rises above the threshold. Other parameters within the middle and sides processing sections can be linked where appropriate. Where the trigger and processing filters need to be set to the same value, there's a Link switch that causes both values to 'track'. This is possible because the trigger signal can be treated via a tuneable, variable‑width band‑pass filter to make the processing most responsive within a specific frequency range. The example given of an application for this option is that the dynamic EQ of the sides signal could, in theory, be triggered by the kick-drum frequencies in the mid signal. I'm M/S Dynamite‑EQ.īX_dynEQ can not only filter the middle and the sides signals of a stereo mix individually, but it can also 'cross‑feed' the trigger signal from the mid source to the sides processor and vice versa if required.
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BX_dynEQ is available in the common Mac and PC native formats (AU, VST and RTAS) as well as TDM, and is sold separately and as part of the comprehensive BX bundle. This allows the centre‑panned elements of a typical mix, such as vocals, bass guitar and kick drum, to be processed in a different way from sounds panned left or right. Like most of Brainworx' plug‑ins, it can split a stereo signal into its sum and difference (also known as Mid and Side) components and process these separately, before recombining them. This type of processing can be used to de‑pop, de‑ess, boost weedy kick drums, suppress vocal harshness when singing loudly, and so on, but the stereo version of the BX_dynEQ model from Brainworx also has mastering applications, made more powerful by its M/S capabilities. Like compressors or expanders, they operate on a threshold system, so that the desired EQ cut or boost curve, as set by the user, comes into play only when the signal exceeds a threshold. The dynamic equaliser can be a secret weapon for fixing faults at the mixing or even the mastering stage, and Brainworx' innovative plug‑in implementation offers novel M/S features.ĭynamic equalisers are extremely useful processors, yet they seem to get less than their fair share of attention.
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