The third choice is a real swiss army knife. It’s an EQ and a dynamic EQ with a very clever UI. I’m talking about the McDSP AE400 Active EQ.
If you need a great EQ on steroids, I recommend to take a serious look at this beast. It’s low-latency, Native and AAX DSP and has some really helpful features which I love.
It has a permanent place on my buses and on my masters, even on certain instruments. The fact that it’s an active EQ if you want is more than helpful. Basically it means it only affects the predetermined band if the signal passes the threshold (going above or falling below… more on this later). This is the best thing we can ask for. Only affect the for example the low-end, when needed, but don’t touch it until the signal rise above the threshold.
One of my favourite thing is to clear up things on master buses. With today’s film scores we usually have a huge orchestra with very dense orchestration plus additional midi stuff and electronic things to make things even more interesting. In the huge forte events, the low-mids can terribly build-up and we might have another problem in the mid-high area where things can get that too piercing, hurting sound. In this example, if you start to EQ the individual tracks, you might loose your basic sonic picture. If you start to EQ the buses, you loose frequencies that you actually need, but they are too much only at the loudest parts. This is a situation where the ActiveEQ is here to help. Only attenuate the problem areas when the huge forte passes happening, but leaving the whole spectrum alone in any other case. Meaning you still have your fat low-mids all the time except when it’s too much.
Let’s see a few gems:
You can use the built-in keys or key the Active EQ from an external source. While you use the built-in band per band key, you can listen to them in isolation makes it extremely easy to spot problem areas or recognise weak spots that need some more care. As the bands are fully overlapping, you can sweep through the spectrum in order to find the territory you want to treat.
Each band has its own peak indicator which makes the threshold setting process incredibly fast. No guessing, just keep the transport playing and you’ll see exactly where each band is peaking. I’ve found this to be very helpful to find the ballpark in seconds, then tweak from there.
There are times when I have the right settings, but want to make some further adjustments on more than one band at once. No problem here as I can quickly link the necessary bands together and from that point on, I’ll have linked interaction.
It’s a pretty unique feature, most dynamic EQ doesn’t have this feature. At first I thought maybe it’s not that of a big deal, but after a short test it showed its value. Cleverly using the ratio control allows you to do quite big adjustments with incredible transparency. I tried some other Dynamic EQs and believe me, this ratio feature is really helpful
Once everything is set up, you can see what’s happening on the active plot, it’s a very nice representation of what’s going on. If I would ask one thing, that would be resizable plugin window to see the action in big.
So, this is the third one, McDSP’s dedication to the AAX DSP platform and the quality of their plugins bought a permanent place here on most of the master buses and solo instruments.