Many years later and too much money spent, I decided to use this fascination to help others. Does one substitute for the other? Nearby Facilities You can select radio frequencies three ways. The maximum gain is around 20dB at these corner frequencies but drifts a bit higher beyond them. This is not to say the plugin version is worse — just different. Lastly, and this is a weird one, but reverb and delay return I exclusively prefer the hardware. The most dangerous tool in the toolbox Kush warns us in the manual to not overdo the Clariphonic but instead go until you think it sounds good and then back off with 50%. How does it stack up feature-wise to the original Clariphonic box? My hope was to sell my hardware Fatso if the plug-in was really close.
But this was a four and a half hour flight and although the images out of the cockpit windows were quite spectacular at times, it was otherwise quite quiet in the cockpit. So it is a bit of a cultural mixture? Low shelf, high proportional Q sweep. But this one is different! By actually cutting the Focus engine, the Clarity engine can shine and shimmer even more. Combining Focus and Clarity actually pulls back the highest frequencies a few dB, rather than increasing the gain. Then it was the handover to Bordeaux Center 125. But enough yammering, time to hear the goods! This combination on the right track is wicked.
You get effortless, natural high end for days. Only one frequency change is needed for all the selections to change, and if you know them or just note them down. So, if you own the MkI hardware unit and love the Tight or Diffuse settings, you may want to hang onto the MkI or use the plugin more on that later. Again… Time to get a Pizza! The hardware felt more dimensional, like the boosts were moving both upwards and outwards from the speakers. Reading above you might think there is a massive difference between the two. By not tying you in to the specifics of frequencies or dBs, it frees up your mind to use your ears more creatively.
The switches are helpfully labelled after the sound they can help achieve, and the filter gain control is also a simple knob with no dB markings. A while back I posted an article talking about the. This is a community thing that requires some external input, but the benefits would certainly be worth the effort. This forces a semi-trial and error approach to getting the settings. I can say with confidence that the Clariphonic fits right in that gang, though the three are obviously very different type of plugins. It was an overview of their use and application, and worth a read.
The Full Frequency switch is missing from the plugin, so it's not possible to hear only what the filters are doing without the original source mixed in. This should be a great means to gently but effectively warm up or thin out any source; in other words, all the body and the weight of any programme material may be defined with just this single filter band. Well, the hardware comprises two independent channels, requiring you to tweak both the left and right sides, while the plugin works in either stereo or mono mode with one set of controls. It also relies on a non-linear gain structure. Itâs effectiveness is matched only by its elegant simplicity, with toggles to select the filters and a knob to turn them in one direction: up. Theoretically, it all helps to produce a more open sound than that of the original plugin. We found the two very similar in behaviour, with Lift filling out the lower mids a bit more - good for enlivening snare drums without thinning them out.
This is a pet peeve of mine because while there are plenty of hardware pieces that can do this, there are very few in the software realm. Moment of clarity Clarity provides one of four shelves: Presence 4kHz , Sheen 8kHz , Shimmer 18kHz and Silk 34kHz. In the end I kept it on the vocals, the drums and the master. Unfortunately, the plug is miles away from the hardware. Also, using the cut on Electric guitar busses helped tame the harshness that comes with biting overdrive. The Focus Engine deals with audio starting at 800Hz and ending around 14kHz, the Clarity Engine picks up at 4kHz and ends somewhere past 34kHz. Having the two side by side, I was able to compare the same settings on both to hear how each version handled audio.
What was notable by its absence when the Clarity engine was bypassed could be almost as obvious, but is much harder to describe, as the linguistic resources we have to deal with these higher frequency ranges are simply not so well developed, and you can find yourself tempted to start wittering on about emotional responses rather than engineered reality. Although at first the bigger handful seemed to do the trick of lifting the voice up without changing its character or throwing it out of balance, I found that far less than that avoided introducing sibilant splashes and was all that was required to do the work. The Focus engine is a great antidote to saggy mixes. After my initial enthusiasm with that setting, I realized that the overheads had become just a touch too forward. The last pass shows a playful approach with the meaty filter-sweep through the entire midrange.
This provides very powerful but unobtrusive control, helping to shape the balance of the programme with broad strokes. However, when used with discretion I've had spectacular results. As always, I enjoy your video podcasts… keep up the great work. I find it difficult to resist the urge to put it in every chain of every track. The Open band heads higher up, covering a slightly sharper area somewhere around 3kHz. . On one project, I had a drum stem that was a tad too sleepy for the song.