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OK - I just got it !  Waited till the last minute for the discount !

So where's the party ?  Ha Ha Merry Christmas !

I'm cleaning up old tapes with Redunoise and I think I'll dip them in GlissEQ - maybe a little Soniformer and Polysquasher.  Floowed by a possible push into Elephant.  These are cassettes, 7 1/2 & VHS master tapes though so maybe not very much compression - we'll see.

But my focus is on GlissEQ - what are you guys doing with it ?

How do you like it ?

I'm mostly a project mastering kind of guy so I probably won;t be loading up Sonar with 30 of these or anything - just one, two, or three (maybe if I do a frequency split and mult).


Hey Kylen,

I am still experimenting myself, but so far I have had good results using glissEQ on the master buss, and on certain tracks that don't have enough definition (?) or blend together too much.  In this case I try using the EQ as suggested in the manual, sweeping a peaking filter around until the transients of the bass or whatever instrument are emphasized.  This helps the material stand out.  My favorite applications so far are on drums (to re-emphasize transients), making undefined bass stand out more, and to sculpt the master buss a little bit.  I imagine this would be a really useful tool for your old tapes, as it could exaggerate transients and make them sound more lively.  In general the EQ sounds good enough to use on any track, I just don't have the CPU to do so (plus I have a UAD-1 dsp card so I have 0-cpu Pultec and Cambridge EQs).  Like I said, I am still learning this EQ, but I also find that you can dial in some big boosts whithout making things sound crappy like is common with other EQs (as long as the filters have some level of dynamic, like 3+).

Hope this helps.

Thanks Brian !

Yes very interesting - thanks for your tips !  Good news that it's successful on the drums and bass - I think that will help me a lot.

I've mostly been 'mastering' 2-track stuff all year - puposely not re-mixing anything just practicing mastering to see what I could learn.  So I don't really know how hard I can push my cpu yet as far a tracking inserts go.

When I get back to tracking soon I guess I'll try to lock some tracks if I use Cool Edit Pro or Sonar3 if I want to get a lot of GlissEQ inserts going.  According to what you say and in some of the forums it may be a little CPU intensive.

I've done a bit of expansion using Aleksey's Soniformer but GlissEQ looks to have more control for specific octave ranges - obviously !

Unfortunately I won't get to hear Gliss EQ for a short time as I've got my room torn apart fixing a 100Hz mode that keeps smacking me in the face and is pretty fatiguing - I tried to 'learn' it but ...argh!@#$ 703 fiberglas to the rescue !

Happy Glissing !


Hi Kylen, sorry but I'm about to stray slightly OT -- I've just been working on improving a cassette tape recording of a band improv, so I thought I'd pass on my experience on this.  It was originaly recorded on a Walkman with an inevitably hissy, noisy and bandwidth limited result -- so this is the chain of fx I used (generally I prefer to not use too many fx, because is seems to be so easy to make something sound superficially better, but in so doing to lose its essential quality -- in this case I made an exception).

Starting out with Curve EQ with a large/wide boost at 65 Hz (to help bring out the bass) and a less large and wide boost at about 8K to add some zing without increasing upper the highest freq noise too much.  Next I used RGC High frequency stimulator -- very effective at adding some high freq zing that is just not there on the tape.  Then came Elogoxa's free exciter plugin to add some warmth and a bit more zing.  Then another instance of CEQ to sharply roll off bass below about 70Hz (which is nothing more than unmusical rumble on the tape), and a small cut at about 7K to counteract the earlier (pre-exciter) boosts, with a boost at 15K to bring out the zing added by the exciters.  Then an instance of SIR with the Manley Massive Passive from Echochamber with a small HF shelf boost (I really like this set of impulses).  Then Soniformer with HF compression to bring up HF density, and LF expansion to give more punch but also reduce noise and rumble.  Finally Elephant set to very little and to provide dither (actually (I have no idea if dither is meaningful when working with such an inherently noisy source, but it's there).  There are probably a million different ways of doing this but it did seem to work :-)

It definitley sounds better than the original tape -- fuller and deeper, more dynamic, but still keeping it's essential quality -- I did think about carefully automating the gain to counteract the auto-record level changes (very slow release compression -- I'm sure we've all suffered that sound from portable cassette recoders, yuk) but the volume changes seemed to become almoist a part of the performance itself, so I left them alone -- it also would have been a major PITA to have fixed this anyway :-)

Hi Andrew !  Thanks for the tape discussion, I'm thinking about what you've said.  How did you do your noise reduction ?

I know what you mean about hissy and band limited cassettes - maybe some of your tips will hep bring in some highs again.  I've got some that I made worse by putting a DNF (dynamic noise filter) in the recording chain so naturally the hiss breathes !  Ha Ha - So far I've gotten Redunoise to fix it.

The Sir Manley sounds interesting too - I kinda skipped over that one but I'll take another look.  More later - Off to a pre-Christmas brunch.  Ho Ho Ho ! :)



How did you do your noise reduction ?
In the end I didn't actually bother about noise reduction -- though the principal reason for that is because I haven't bought Redunoise yet.  I gave it a go using the demo and was *very* impressed by the results -- but unfortunately I couldn't justify that purchase right now.  Having said that, I generally feel that hiss is so well filtered out by the brain that it really only seems to be "problematic" at the beginning and ends of pieces, which are often quiet, so mask the hiss less well, but perhaps more importantly because the mind hasn't quite started to focus on the music and therefore filter out the hiss.

A related question for Aleksey: I wondered if it would be possible for an effect to add missing bass frequencies to band limited recordings -- there are many plugs which can increase the "weight" or "presence" of an existing bass by adding higher harmonics, but is it feasible to actually add *lower* harmonics which missing -- i.e. say your recording consists of a bass where only the 3rd and upwards harmonics have been captured, would it be possible to add the missing fundamental and 2nd harmonic?  Don't worry if you don't have an answer :-)

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