Brainworx Bx Digital v3.7专业数字均衡效果器母带效果器

流云高飞

从上一个版本的发布，到这个新版本的发布，中间隔了好几年了，这次带来的效果有很大的变化，欢迎大家测试

概述：

Brainworx的革命性旗舰产品bxïU digital是第一个商用的中/侧均衡器插件，它作为混音和母盘的EQ至今仍占据着至高无上的地位。

这款具有开创性意义的插件的第一次重大升级，bxŠu digital V2，被未来音乐评选为十年最佳插件，并迅速成为评判其他均衡器的标准。

11波段均衡器的前向思维功能集包括参数钟，高和低搁置，高和低通滤波器为每个通道；单声道、双单声道（L/R）、立体声和中端操作模式；中端解码器（特别适用于以超单声道兼容和非常自然的方式记录声学乐器、鼓和更大的合奏）；频谱平衡低音和存在移位器；开创性的Mono-Maker求和工具；以及高水平掌握的综合成像、监测和计量设施。

信息：

现在更强大了

随着bx\ U digital V3的发布，门槛又提高了。主要的更新扩展了高频波段的上限至40千赫，以甜和增加'空气'的高分辨率音频曲目，混音和主人。一个动态均衡模块，API风格的比例Q滤波器和六个陷波滤波器（每个通道三个）已被添加到处理任何手术混合或掌握任务，使它成为一个完美的工具，电影混合和后期制作以及。独特的低音和存在转移已作出了更多的用途，每一个现在提供了三个不同的倾斜过滤器，平衡和揭露隐藏在您的混音细节选择。

V3的透明高通和低通滤波器现在提供了交替的坡度，以塑造您的轨迹的高端和低端，并有选择地消除隆隆声和嘶嘶声与更高的精度。新的，全球增益规模控制使比例增益变化，以所有参数，搁置，低音和存在一次转移过滤器，保持您精心打造的平衡，在所有波段，因为你拨入完美的整体数额的均衡。

所有这些功能都来自两个工作区，分别用于混合和掌握组件插件，以帮助您更快地工作。在不需要手术均衡的个别轨道上，“bx\u digital V3 mix”插件通过排除中间处理和额外的仪表简化了操作。在混音和主控会话期间，在您的主要子组和主立体声总线上，使用“bxèu digital V3”插件来推出“大炮”：一个完整的中/侧均衡控制补充，以及用于前后EQ信号电平、L/R平衡和相关的独立仪表。先进的成像控制，让您独立平移您的混音的中间和侧面通道，扩大立体图像，交换左右声道和中心的幻像立体图像。

V3更清晰，更清晰的声音混合和大师

V3不是一个“字符”的EQ。它是显着的原始，使用超透明的过滤器，尽量减少相移和频率掩蔽，以提供更清晰和更集中的混合和主。低音和临场感变换器在相邻的波段产生相反的增强和削减，以防止过度的光谱能量积累，从而使混音声隆隆，模糊或尖锐。V3中的每个移位器提供三种不同的倾斜均衡声音选择，具有不同的增强和削减频率、带宽和相对增益。

例如，用它们来增强混音的低音冲击力，同时清除混音的上低音和中低频。或增加现场聚光灯吉他和人声，同时软化灼热的钹。你会工作得更快：鼠标点击和单旋钮扭转是所有它需要！

V3的新比例Q滤波器是另一个巨大的优点。当你增加或减少增益时，这些滤波器会逐渐调整Q值，将你的增益和削减精确地集中在需要的地方，而不会在相邻的波段中进行折衷。提高男声的低音频率，以突出歌手强大的胸部收音，而不会混淆中低音。在完全保留打手高频拍打声的同时，在踢踏鼓轨道上削减中音频率。V3是精确的。

V3更新还更新了bxèu digital V2中包含的简单deser，使其成为一个更通用的动态EQ，可以压缩或向上扩展从20到22 kHz的任何频段。当然，动态EQ仍然可以抑制嘶哑的人声和钹声。但你也可以用它来自动衰减低音频率的原声吉他轨道只有当吉他得到隆隆声，留下它在所有其他时间未经处理。或者用它来增强复杂信号中的低音鼓。你也可以驯服高频率的声乐表演自动化，只有当一个歌手击中他们的范围的顶部。

动态情商是所有关于一致的音调和更少的需要耗时的情商自动化。设置是一个


Hi bro...I've been waiting for this Mac release for a long time: I hope someone can finally give us this plug, great for mastering and more!
Overview:

Brainworx's revolutionary flagship product, bx_digital, was the first commercially available Mid/Side equalizer plugin, and it still reigns supreme today as the EQ for mixing and mastering.

The seminal plugin's first major upgrade, bx_digital V2, was voted #1 Best Plug-in of the Decade by Future Music and quickly became the standard by which other equalizers are judged.

The 11-band equalizer's forward-thinking feature set includes parametric bell, high- and low-shelving, and high- and low-pass filters for each channel; mono, dual-mono (L/R), stereo and mid-side modes of operation; a mid-side decoder (especially useful for recording acoustic instruments, drums and even bigger ensembles in a super mono-compatible and extremely natural way); spectrum-balancing Bass and Presence Shifters; the pioneering Mono Maker summing tool; and comprehensive imaging, monitoring and metering facilities for high-level mastering.

INFO:
Now Even More Powerful

With the release of bx_digital V3, the bar just got raised again. The major update extends the High Frequency band's upper range to 40 kHz to sweeten and add ‘air’ to high-resolution audio tracks, mixes and masters. A Dynamic EQ module, API-style Proportional Q filters and six notch filters (three per channel) have been added to handle any surgical mix or mastering task, making it a perfect tool for film mixing and post production as well. The unique Bass and Presence Shifters have been made much more versatile, each now offering a selection of three different tilt filters that balance and unmask hidden details in your mixes.

V3's transparent high pass and low pass filters now provide alternate slopes to sculpt your tracks' high and low end and selectively weed out rumble and hiss with greater precision. And the new, global Gain Scale control makes proportional gain changes to all parametric, shelving, and Bass and Presence Shift filters at once—preserving your carefully wrought balance across all bands as you dial in the perfect overall amount of EQ.

All this power comes in two workspaces—separate component plugins for mixing and mastering—to help you work faster. On individual tracks that don't need surgical equalization, the "bx_digital V3 mix" plugin simplifies operation by excluding mid-side processing and additional meters. On your main subgroups and the master stereo bus during mixdown and mastering sessions, use the "bx_digital V3" plugin to roll out the big guns: a full complement of Mid/Side equalization controls and separate meters for pre- and post-EQ signal levels, L/R balance and correlation. Advanced imaging controls let you independently pan your mix's mid and side channels, widen the stereo image, swap left and right channels and center the phantom stereo image.

V3 for Clearer and Cleaner-Sounding Mixes and Masters

V3 is not a "character" EQ. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. The Bass and Presence Shifters produce opposing boosts and cuts in adjacent bands to prevent excess spectral energy buildup that can make mixes sound boomy, blurry or edgy. Each Shifter in V3 offers a selection of three different tilt-equalization sounds featuring different boost and cut frequencies, bandwidths and relative gain.

Use them, for example, to boost your mix's low-bass punch while simultaneously clearing out muddy upper-bass and low-midrange frequencies. Or increase presence to spotlight guitars and vocals, while softening searing cymbals. You'll work faster: a mouse click and single knob twist are all it takes!

V3's new Proportional Q filters are another huge plus. These filters progressively adapt the Q as you increase or decrease gain, focusing your boosts and cuts exactly where they're needed and without suffering tradeoffs in neighboring bands. Boost bass frequencies on male vocals to accentuate the singer's powerful chest register—without muddying the lower midrange. Cut honky midrange frequencies on the kick drum track while fully preserving the beater's high-frequency slap. V3 is precise.

The V3 update also updates the simple De-Esser that was included in bx_digital V2 to a much more versatile Dynamic EQ that can compress or upwardly expand any frequency band from 20 to 22 kHz. Sure, the Dynamic EQ can still de-ess sibilant vocals and cymbals. But you can also use it to automatically attenuate bass frequencies on an acoustic guitar track only when the guitar gets boomy, leaving it unprocessed at all other times. Or use it to boost bass drums in complex signals. You can also tame the high frequencies of a vocal performance automated, only when a singer hits the top of their range.

The Dynamic EQ is all about consistent tone—and less need for time-consuming EQ automation. Setup is a snap: a Solo function lets you hear the frequency band that the Dynamic EQ will treat as you dial it in. Set the Speed switch to Fast to nip speedy sibilance in the bud or Slow to tame boomy bass frequencies without pumping. Place the Dynamic EQ before or after V3's main filter section with the click of a mouse.

V3's innovative Solo functions help you make smarter EQ decisions while working fast. Activate the Auto-Solo and Auto-Listen switches to add touch-sensitive functionality to Gain, Q and Frequency controls in all bands. With Auto Listen, the Gain and Q controls will automatically solo the respective changes they apply to each band, while doing the same to a Frequency control will automatically solo the filter in the channel. Auto Solo automatically switches monitoring to the respective channel (M or S, L or R) on which Gain, Q and Frequency are being adjusted. Separate frequency-response graphs for each channel constantly update to illustrate the results of your tweaks. You'll see and hear your EQ adjustments like never before.

Features

Three operational modes: L/R (dual-mono), M/S Master (Mid/Side) and unique M/S Recording (processes Mid/Side signals in real-time and outputs L/R stereo)
Mono, dual-mono, stereo and Mid/Side configurations, multi-mono (Surround)
Two component plugins simplify and speed workflow for mixing and mastering
Eleven broadly overlapping bands per channel
LF, LMF, MF, HMF and HF bands are fully parametric (offering separate Gain, Q and Frequency controls in each band) and can be switched globally for Proportional Q response
LMF, MF and HMF bands each provide notch filtering at their lowest gain setting, while offering adjustable Q per band
LF and HF bands provide respective low- and high-shelving EQ at their lowest Q setting
Separate, continuously variable low-pass and high-pass filter for each channel, each offering 6dB or 12dB/octave slope or bypassed state
Bass Shift and Presence Shift modules each offer three tilt-equalization sounds
Dynamic EQ module boosts or cuts only when needed to correct undesirable, momentary peaks or enhance your signal with creative boosts
Gain Scale control adjusts all gain controls for parametric, shelving, and Bass and Presence Shift filters at once; negative values invert the EQ curve to change boosts to cuts and vice versa
Mono Maker folds frequencies to mono below its selected corner frequency (20 Hz to 22 kHz), lending focus to any part of your mix and helping to preserve the side channel's headroom when tightening the low-end
Extremely flexible control linking: Each band and filter can be independently linked with its respective counterpart in the opposing channel (left-channel filter linked to its corresponding right-channel filter, or mid linked to side)