George Massenburg Labs - GML DESIGNWORKS Digidesign MDW HI-RES EQ Version 3 TDM - GLOBAL AUDIO STORE - TDM Plugin

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GML DESIGNWORKS - Digidesign MDW HI-RES EQ TDM
[GML DESIGNWO]

779.00EUR

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George Massenburg Labs - GML DESIGNWORKS Digidesign MDW HI-RES EQ Version 3 TDM

High-Resolution EQ Plug-In
Massenburg Design Works signature MS269 EQ for Mac-based Pro Tools|HD — a single-channel, 5-band EQ — is the progeny of the ubiquitous Model 8200 stereo EQ, a favorite of discerning engineers worldwide. However, in no way should these be compared: The plug-in is sonically and visually unique.

The EQ's familiar-looking gain/frequency x/y graph provides instant feedback as you change parameters. Its dB scale can be set to show 6, 12 or 24 dB of gain change, and input level can be set from -24 dB to +6 dB. Three “LED”s let the user know if overdrive occurs at the input, EQ or output sections.

The screen's five identical bands default to high/low-shelving filters on the ends with three fully parametric bands in the center. However, in the digital world, any band can be anything.
A pulldown menu can alter each band's duty, so users can call up an EQ offering a parametric peak/dip, low/high shelf or low/highpass at -6 dB or -12 dB per octave.

A series of circles with a center parameter on each band lets you grab-and-drag a parameter up/down, double-click to enter a value manually or Command-drag to fine-tune the value.
Bands can range from 10 Hz to 41k Hz, which makes sense, as the plug-in operates at up to 96k Hz. (Internal processing is extended even when operating at 44.1k Hz.) Q control is adjustable from 0.1 to an absolutely surgical 25.6, and gain can be cut/boost ±24 dB. Operation can be mono or multi-mono, and all individual parameters are automatable.

The EQ is a standout for what it doesn't do: sound harsh at extremes. Its subtle nature lets users craft a track's sonic quality in a number of ways. The simple interface is great: At first, I was underwhelmed with the design, but soon I appreciated its ease of use. It was also a hit with nontech-types in the studio: One user called it a great “EQ for Dummies.” However, even a dummy can hear how excellent this EQ sounds. On a variety of sources, it excelled, especially when used with vocals or to add air to percussion and drum overheads. Knocking off a boomy acoustic guitar's low end, using the highpass filter at the -6dB per octave setting, produced nice, natural results.