(sorry in advance for the thread detour!) Sidenote: I think I know what my next combinator project will be Or am I still missing something.Īlso, from your explanation, Selig can implement serial routing of bands inside ColEQ and have the same functionality (if that is what it takes). So basically, stacking four single-band parametric EQs with saturation in a combinator does the exact same thing. If there is any Serial usage, V3 applies the saturation in Filter #1 and then feeds the results to Filter #2 which adds its saturation to the newly roughed up sound. And each seems to deliver nice results if that is what you want to do. Both can be set up to "surf" with the notes. Being an RE, C-EQ is a bit more immediate in the Rack than a VST. Co-EQ is an EQ with a more direct EQ set. V3 is mostly a Filter set that can play at EQ and even Compression. There is different functionality in each. Similar in concept to FM synthesis where you FM OSC 2 which is FMing OSC 1 to get a skritchier sound than just FMing OSC 2>1. Or simply put drive gets driven again for a sound that is even more non-linear. This leads to a multiplication of the aggravation of the assemblage of assault. V3 does that if you use all four bands in Parallel. The bands are reassembled at output with no interplay. Happy for Selig to advise with his insider knowledge.Ĭ-EQ separates each band (like a multiband compressor) and therefore each EQ band has separate saturation - leaving the other bands unaffected by that band's Saturation. I often saturate last so things like drums (esp samples) that can be too brittle or fizzy) can have a roll off on the highs and a bit of Tube Scream to make something nicer to suit the needs of the mix.ĭespite what clearly everyone (incl me) thinks, these are not exactly the same sort of thing. Also if you saturate and then EQ you will have a slightly different result than if you EQ then saturate. In practical terms, a smidge of any kind of drive or "signal non-linearity" in a few places is normally plenty to help any mix work very nicely. In no way am I suggesting that to make remotely passable, let alone great, mixes one needs to run out and buy V3 (I am not), It was just an interesting approach to making a mix and showed in a less cliche way what Volcano3 is/does (seeing this is a review). The line can be very thin and what seems vibey in solo can result in mud when in a mix. Which is either a mungy signal or a vibrant one. This gives a more complex "curve" to the overall result as the actions compound. The real joy in this approach is that each of the filters used in Volcano3 brings a bit of saturation so you are not working with 1x EQ into 1x Saturation but 4x Saturation affected by the EQ (filter) curves (and compression movement). ![]() There is a difference in what is happening: Without fully understanding how things work under the hood, I can't give a total ironclad answer.
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