四波段分频器Audio Assault HQ-2 v1.0 VST VST3 AU RTAS AAX MAC/WiN波段多频段压缩均衡器插件

4 BANDS SPLITTER

四波段分频器

Dub-SPL4 is a simple 4 Bands Audio splitter, specially designed for live performances.

Dub-SPL4是一个简单的4波段音频分路器，专门为现场表演设计。

Just put it on you master bus and start dubbing around !

只要把它放在你的主巴士上，开始到处配音！

FEATURES

特征

It splits the incoming audio into 4 bands : Sub, Low, Medium & High frequencies.

它将输入音频分为4个频段：亚、低频、中频和高频。

It also includes LP & HP filters with dedicated controls to adapt their resonance.

它还包括带有专用控制装置的低压和高压过滤器，以适应其共振。

It is specially designed for Dub Music, but also for every genre you can perform live. Be it techno, Drum’n’Bass, HipHop, Electro…

它是专门为配音音乐设计的，但也适用于你可以现场表演的每种类型。无论是技术，鼓，低音，嘻哈，电子…

And don’t feel restricted to a live use ! Why not use it on a drum bus ? Or on a keyboard ? You can use it as a multi-band EQ, or only use its filters (they are awesome!).

不要觉得自己被限制在现场使用！为什么不在鼓式公共汽车上使用呢？还是在键盘上？您可以将其用作多波段均衡器，也可以仅使用其滤波器（它们太棒了！）。

OVERVIEW

概述

SoundFingers Dub-SPL4 v1.2.0 x64 VST3 AU WiN MAC [FREE] screenshot

SoundFingers Dub-SPL4 v1.2.0 x64 VST3 AU WiN MAC[免费]屏幕截图

4 BANDS

4个乐队

X-over frequencies are 70Hz / 600Hz / 3kHz.

X-over频率为70Hz/600Hz/3kHz。

VOLUME KNOBS

音量旋钮

Control the volume of each band with dedicated knobs.

使用专用旋钮控制每个波段的音量。

KILL SWITCHES

压井开关

Cut the bands with one touch of a button!

只需按一下按钮就可以剪断带子！

LP & HP FILTERS

低压和高压过滤器

Use a LP or HP filter on your incoming audio.

对传入的音频使用LP或HP过滤器。

RES CONTROL

RES控制

Select the filter resonance level : Low or High Res.

选择滤波器谐振电平：低分辨率或高分辨率。

MIDI LEARN

MIDI学习

MIDI learn available within your DAW

MIDI学习在您的DAW中可用

REQUIREMENTS

要求

• Windows 64bits VST3 Format.

•Windows 64位VST3格式。

• MacOS 64bits VST3 & AU Formats.

•MacOS 64位VST3和AU格式。

• 10MB Disk Space

•10MB磁盘空间

• Tested with : Ablet

HQ-2混合均衡器实际上是一个
10频段多频段压缩器，采用图形均衡器的直观工作流程进行设计。

HQ-2建立在RMS压缩的10个频带附近，这对于压缩信号的平均电平而不是峰值电平很有用。
结果是透明的压缩，可以在混合中带来安静的细节，同时实现动态源材料音调的一致性。

这使得HQ-2非常适合用于仪表总线和混合总线，在这里可以将您的混合胶粘在一起。但是，考虑到10频段的多频段压缩和图形均衡器工作流程，HQ-2还是各种信号源的完美选择！

为什么是RMS？
RMS压缩使瞬态信号通过时基本上不受影响，同时压缩平均信号电平而不是峰值电平。这对于使动态声源（例如人声或贝司吉他）的音量达到平衡非常有用，同时仍保持透明感。由于我们不压缩峰值电平，因此传统压缩器的瞬态整形效果不太明显。HQ-2利用RMS多频带压缩来提供透明的压缩效果，使人可以像图形均衡器一样容易地使用它。只需增强或剪切并聆听它如何改变您的音源声音即可。

自动增益补偿：
HQ-2具有始终在线的增益补偿算法。这样可以确保结果始终保持恒定的感知响度。对于那些不熟悉eq风格插件的自动增益补偿的人，您可能首先发现结果有些出乎意料。在标准均衡器上提高低音会导致低音变大。在具有自动增益补偿的EQ中，提高低音可将低音保持在类似的感知响度，同时降低其余信号。您仍然可以得到相同的声音效果，并具有自动调整输出增益以抵消您所做的增强和降低的额外好处。

界面：
波段界面围绕10波段图形eq的工作流构建。10个频段中的每个频段都会同时调整阈值和补偿增益。
-将频段设置为中性位置时，该频段的阈值设置为0 dbfs。
-剪切一个频段时，您可以降低该频段的阈值，同时还可以降低该频段的化妆增益。这有助于压缩和减少苛刻的频率。
-增强频段时，您可以降低该频段的阈值，同时还可以增加该频段的化妆增益。这有助于将细节压缩和提升到可听范围。
-谨记：增强将提高化妆增益，同时降低阈值。削减将降低化妆增益，同时降低阈值。

压缩控制
在10个频段的右侧是全局压缩控制。这使您可以设置RMS压缩器的起音，释放和比率。
-Attack设置RMS压缩效果的起音时间-Release设置RMS压缩效果
的起音时间
-Ratio设置增益减少量。设置为零时，将不进行压缩。可以将其视为“强度”旋钮。使用10个频段拨入您想要的均衡平衡，然后使用比率控件调整压缩效果的强度。从零开始，然后将其调高直到获得所需的压缩量。

用途
-在低音吉他上使用HQ-2可使低端的力量均匀，增加在不同八度音阶中弹奏的低音线的一致性，并防止在演奏高音时使低端变细。
-在民谣吉他上使用HQ-2可以在延音中显示低电平信息，有助于使混音中的民谣吉他变厚，同时调整频谱响应以适合您的混音需求。-
使用HQ-2在人声上调和动感的人声，同时增加演奏频率响应的一致性。
-在混合总线上巧妙地使用HQ-2，以增加点胶质，同时消除频谱响应并降低上中音的刺耳度。
-使用军鼓上的HQ-2将基音提升到250 Hz左右，这将在混音中轻轻地提起重音。8K的增强也将使您的军鼓变得响亮。-实验 这是一种用途非常广泛的工具，用途广泛。请给我们有关您最喜欢的HQ-2用途的反馈！
Audio Assault HQ-2 v1.0 VST VST3 AU RTAS AAX MAC/WiNMAC & WiN – 21,4 MB
HQ-2 Hybrid Equalizer is actually a
10 band multi band compressor, designed with the intuitive workflow of a graphic equalizer.

The HQ-2 is built around 10 bands of RMS compression, which is useful for compressing the average level of a signal rather than the peak level.
The result is a transparent compression that can bring quiet details up in the mix while achieving consistency in the tone of dynamic source material.

This makes the HQ-2 ideally suited for instrument busses and the mixbus, where it can help glue your mix together. However, given the 10 bands of multi band compression and the graphic equalizer workflow, the HQ-2 is also perfect for a wide range of individual sources!

Why RMS?
RMS compression allows transients to pass through largely unaffected, while compressing the average signal level instead of the peak level. This is useful for evening the level of a dynamic source, such as a vocal or a bass guitar, while still retaining a sense of transparency. Since we’re not compressing the peak level, the transient shaping effects of traditional compressors are less apparent. The HQ-2 utilizes RMS multi band compression to provide a transparent compression effect that one can use as easily as a graphic equalizer. Simply boost or cut and listen to how it’s changing the sound of your sources.

Automatic Gain Compensation:
The HQ-2 features an always on gain compensation algorithm. This ensures the result is always at a constant perceived loudness. For those unfamiliar with automatic gain compensation on eq style plugins, you may find the results a bit unexpected at first. Raising the bass on a standard eq will result in the bass getting louder. In EQ’s with automatic gain compensation, raising the bass keeps the bass at a similar perceived loudness while lowering the rest of the signal. You still end up with the same sonic result, with the added benefit of automatically adjusting the output gain to counter the boosts and cuts you made.

The Interface:
Bands The interface is built around the workflow of a 10 band graphic eq. Each of the 10 bands adjusts the threshold and the makeup gain simultaneously.
– When a band is set to its neutral position, the threshold of that band is set to 0 dbfs.
– When cutting a band, you lower the threshold of that band while also reducing the makeup gain of that band. This is helpful for compressing and reducing harsh frequencies.
– When boosting a band, you lower the threshold of that band while also increasing the makeup gain of that band. This is helpful for compressing and lifting details up into the audible ranges.
– REMEMBER: Boosts will raise the makeup gain while lowering the threshold. Cuts will lower the makeup gain while lowering the threshold.

Compression Control
To the right of the 10 bands is the global compression control. This allows you to set the attack, release, and ratio for the RMS compressor.
– Attack sets the attack time of the RMS compression effect
– Release sets the release time of the RMS compression effect
– Ratio sets the amount of gain reduction. When set to zero, there will be no compression. This can be treated as a “strength” knob. Dial in the eq balance you want using the 10 bands, then adjust the strength of the compression effect with the ratio control. Start at zero, and turn it up until you have the desired amount of compression.

Uses
​ – Use the HQ-2 on a bass guitar to even out the strength of the low end, adding consistency to bass lines that play at various octaves and preventing the low end from getting thin when higher notes are played.
– Use the HQ-2 on acoustic guitar to bring up the low level information in the sustain, helping thicken up the acoustic guitar in your mix, while shaping the spectral response to suit the needs of your mix.
​ – Use the HQ-2 on vocals to even out a dynamic vocalist, while adding consistency to the performance’s frequency response.
– Use the HQ-2 subtly on the Mix Bus to add a touch of glue while evening out the spectral response and reducing harshness in the upper mids.
– Use the HQ-2 on snare drum to lift the fundamental around 250 Hz, which will gently lift ghost notes up in your mix. A boost at 8K will also bring out the snap of your snare. ​ – Experiment. This is a very versatile tool, with varied uses. Please give us feedback on your favorite uses for the HQ-2!
试听：https://player.youku.com/embed/XNDAzMTQwNjE4MA==