[Voxengo Curve Eq 3.1 Keygen
Addison Mauldin
To the right of the FFT display is an Output level slider with a huge 48dB range to minimise in/out level differences, and there is a cluster of somewhat anonymous buttons beneath. A Monitor button lets you view the real-time FFT response of the input or output signals, or both, for either the left or right channels, or both mixed together. Even handier is its OutAvg setting, which averages the response over 12 seconds, resetting itself after every EQ change. This option makes it far easier to judge the overall trend when examining response curves.
The buttons labelled C, M and S control the EQ ripping feature. Pressing C starts the capture process, which you can stop at any time, and once captured you can apply it to another file by using the Match button. Since the EQ difference can sometimes prove more extreme than you want if the destination file is missing some frequencies, the / and * buttons let you attenuate or amplify the response differences, and of course you can also use them as a general-purpose EQ 'gain' control for your own hand-drawn designs. The 'rst' button resets the entire response to its flat default, while Exchange and Copy let you perform A/B comparisons.
The latest version 1.5 adds 'vintage processing', with seven useful variations of odd and even harmonics to add warmth and presence to your sounds, three saturation modes to fatten them up with guitar amp/tape simulation, and even a selection of six internal filter algorithms with extremely subtle differences. However, for me the most interesting new addition was Gear Match, which lets you impose the modelled frequency-response characteristics of any two items of gear including tape, six types of tube, three varieties of compressor, and two enhancers. In combination these new features add a great deal to the package, providing a huge range of treatments ranging from subtle to extreme.
Apart from these limitations, Curve EQ worked well, was easy to set up, sounded pretty good, and the 16 presets supplied show the versatility of this form of 'free-form' EQ. I managed to create some very extreme comb responses for special effects for instance, while the modelling features add punch, sparkle, and character. A range of skins is also available for download, although I would like to see a redesign and labelling of the rather anonymous buttons, particularly for the latest features.
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CurveEQ VST from Voxengo is an advanced equalizer that runs as a plug-in in any VST 2.0 host like Cubase, Nuendo or Logic Audio. CurveEQ gives you the ability to see a real-time graphic image of the frequency spectrum of a vocal, instrument or complete track mix as it looks before and after you apply equalization from CurveEQ. With this "visual" representation, you'll quickly see which frequencies are problematic and have to be reduced or are in need of enhancement. I liked that, rather than turning knobs as on a conventional equalizer, you use the mouse to design and "draw" a very specific EQ curve.
CurveEQ also features SpectruMatch technology, a way to match a sound's frequency composition and response and superimpose it over another sound. You could take a spectrum "picture" of a mix that you particularly like and apply it to a completely different mix. Conceptually similar is Voxengo's Gear-Match Technology, in which databases of sonic impulses from various high-end analog devices are available to be applied to any sound. In theory, you could take the basic sound coloration caused by tubes, transformers and design (but not the actual compression) of a multi-thousand-dollar vintage compressor followed by the sonics of a 1960s British EQ and add it to any of your song's tracks or the entire stereo mix.
CurveEQ is primarily intended as a mastering equalizer, but I used it on individual channel inserts with great results. It came in very handy when clearing up the lower midrange of a muddy-sounding mix. It is much easier to pinpoint annoying frequencies using CurveEQ's "what-you-see-is-what-you-get" interface than a parametric EQ, which is often a laborious trial-and-error process.
CurveEQ uses a math-intensive process and eats a fair bit of CPU overhead, but once you have shaped your sound, you can turn off the spectrum-analysis processor and regain some lost horsepower. For Windows PCs only, Voxengo sells for $98 and is available as a download.
If you haven't already, take a look at this site All the plugs are written by a guy called Aleksey Vaneev. I've been trying a few of his plugs and they are great. I especially like the curve eq and the new gliss eq alpha. The impuse modeller seems pretty cool too if you use "sir" or similar. Just thought I'd post the link here (no I don't work for him, found the link on the uad forums) :)
Hi, My fellow composers here in LA use Waves PAZ anaylizer a lot for mixing, but we always say.... "I wish there was an EQ where we could DRAW any shape freeform across the spectrum... the LOOK of an EQ curve we are after". (Kick drum... complete mix etc)
If you want it to sound great, it's not about "drawing in the shape you want". You'll be better off with a Match EQ for that. With the extreme, freeform stuff, it's all about resonant peaks and surgical dips. You have to use your ears more than ever and you definitely have to bust it out on 80% of your tracks if you want a decent end result. It's kind of like pushing down a peg and have 5 more pop up.
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