shelving EQ matrix
& effortlessly add pristine analog focus, detail, clarity, and air to any
- Silky top
end presence and air coupled with subtle, tight low frequency enhancement
interface allows for rapid experimentation with 16 possible filter combinations
tuned slopes, Q, and corners ensure foolproof operation and stunning results
Gregory Scott aka UBK:
Clariphonic Parallel Equalizer is a mastering grade, parallel shelving EQ
matrix with a new filter shape that allows a single band to lift both the top
and the bottom, simultaneously but asymmetrically. To my ears the top gets
lifted at about a 3:1 ratio compared to the bottom, but I have yet to test it
to see what the proportions actually are.
path is super minimal --- it's primarily a capacitance network made up of Wima
and Panasonic caps --- but the switching architecture is extremely cool and
allows for a lot of new possibilities. I wanted to create an eq that was
artistic and right-brain in nature, to get you to think about sound in terms of
textures and colors rather than numbers.
end, there are 2 engines per channel, the Focus Engine and the Clarity Engine,
each of which can have 1 active band. I call them engines because they work on
both ends of the spectrum despite being a single band. Anyway, there are 4
unique bands to choose from in each engine, each with its own slope and corner
on top and bottom. So essentially it's a dual channel 2-band eq that behaves
like a 4-band hi/low eq, with 8 available filter shapes per channel which,
because of the switching network, can be configured in 16 possible
the filters are insanely smooth up top and do crazy cool things to the bottom,
but the general idea is tighten/define the lows and lift/open the top with
minimal coloration or phase smear. Each engine does that in its own way.
Engine is more of a broad push that totally clears the mud from sounds, lifts
them up and forward, and can be aggressive at max boost but is always easy on
the ears; combined with the tight-ass lows it brings a new level of detail and
immediacy to the picture.
Engine works further out in the spectra, with the highest band's corners being
somewhere in the 40hz area on the bottom and the 40k range up top (!). I've
never heard air or shimmer like it. You have to be careful, the top on the
Clarity Engine is like crack, it's highly addictive and really easy to do more
than is wise because it always sounds good, it just takes the lid off the sound
and opens it up. Use with caution!
But it gets
signal comes into the Clarity Control, it is passed full bandwidth to the
output. It is also multed to each of the bands, and you use the gain control of
each engine to blend that band in parallel with your original signal via an
internal mix buss. This is very different than your typical console and channel
eq's, which pass your signal thru each band in series, with each band doing its
thing on the phase-altered signal of the band before it.
parallel mix architecture means the phase coherence of your signal remains
completely intact, and the bands are blended in behind it. The effect is kinda
holographic and super tight, no hash or harshness at all.
really cool is that the full range signal and each engine all have their own
mute switches, so you can listen to just one or both filters in isolation and
hear exactly what you're grabbing. You can also leave the full-range killed and
bring the Clarity Control back in parallel on your own console, where you can
compress, saturate, or otherwise play with the high and low freqs as their own
entities. The creative possibilities here can't be overstated.