EQs
DIGI-FILTER
Focusrite Digital Low-pass and High-pass filter
CLASS A 2: based on a Neve 1073 ser. 1742
HPF - OFF and switched Freq
LF shelf - OFF and switched Freq, Variable Gain
MF Bell - OFF and switched Freq, Variable Gain, freq-dependent Q
HF shelf – Vari Gain
TRANY 4: based on an API 550b ser. 02212
LF shelf/bell - Vari Gain and Freq
LMF bell - Vari Gain and Freq
HMF bell - Vari Gain and Freq
HF shelf/bell - Vari Gain and Freq
TRANY 5: based on an API 559 ser. AX-GP02211
Bell – Vari Gain, switched Freq x 7 (Bell 2, Bell 3….)
7 Identical bands to emulate a graphic EQ
OLD TUBE 1: based on a Pultec EQP1 ser. 1253
LF Boost - Variable Gain, switched Freq
LF Cut – Bands 1 and 2 are interactive (both use the same Freq control)
MF bell boost – Fully parametric
HF Cut - Vari Gain
OLD TUBE 2: based on a Pultec MEQ5 ser. 1742
LMF bell boost - Vari Gain, switched Freq
MF bell cut - Vari Gain, switched Freq
HMF bell boost - Vari Gain, switched Freq
PLATINUM 1: based on a Focusrite VoiceMaster ser. p070110
HPF - Variable Freq
Warmth bell - Vari Gain and Freq, gain-dependent Q
Presence bell - Vari Gain, gain-dependent Q
Absence (around 4k) - On/Off
HF shelf - Vari Gain
COMPRESSOR AND EQ EMULATIONS GUIDE CONT.
IMPORTANT INFORMATION: FOCUSRITE, the FF logo, LIQUID TECHNOLOGY, LIQUID MIX CONTROL, LIQUID MIX and the
LIQUID MIX logo are trademarks of Focusrite Audio Engineering Ltd. DYNAMIC CONVOLUTION is a trademark of Sintefex Ltd.
All other product names, trademarks, or trade names are the names of their respective owners, which are in no way
associated, connected nor affiliated with Focusrite or its LIQUID MIX product and which have not endorsed Focusrite’s LIQUID
MIX product. These other product names, trademarks, and trade names are used solely to identify and describe the third party
products the sonic behaviour of which was studied for the LIQUID MIX product, and to accurately describe the functionality of
the Liquid Mix product. The Liquid Mix product is an independently engineered technology which utilises the patented process
of Dynamic Convolution to actually measure examples of the sonic impact of original analogue products upon an audio stream,
so as to electronically emulate the performance of the original product studied. The result of this process is subjective and
may not be perceived by a user as producing the same effects as the original products studied.
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