Manual

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Document authored by: Nicolas Sidi

Document version: 1.0 (08/2011)

Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs,
but in making this a better product.
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© Native Instruments GmbH, 2011. All rights reserved.

 Table of Contents

Table of Contents
1 Introduction .............................................................................................................. 5
1.1 What Is an Equalizer? ................................................................................................................. 5
1.2 The SOLID EQ .............................................................................................................................. 6
2 Using the SOLID EQ .................................................................................................... 8
2.1 Loading the SOLID EQ ................................................................................................................. 8
2.2 SOLID EQ Interface and Controls ................................................................................................ 8

SOLID EQ - Manual - 4
 Introduction
What Is an Equalizer?

1 Introduction
SOLID EQ brings the equalizer section of one of the most renowned studio mixing consoles
of all times into the Rack of GUITAR RIG 5.

1.1 What Is an Equalizer?

An equalizer (EQ for short) is an essential audio processing tool that allows you to amplify
or attenuate specific parts of the frequency content in your audio signal.
Its name reminds its original purpose in telecommunications, namely correcting the fre-
quency content of a signal that might have been altered somewhere on the line — in
short, equalizing it again.
In the audio domain, though, the equalizer can be used in many more applications, in-
cluding creative ones, just to name a few:
▪ Defining the bass content.
▪ Adding sparkle to vocals.
▪ Correcting unwanted resonances in your recordings.
▪ Separating tracks with similar frequency ranges.
▪ Modifying more frankly, or even creatively destroying your original sound.

Gains, Frequency Bands, and Response Curves

Equalizers allow you to apply various amounts of amplification or attenuation (called gains)
to different ranges of frequencies (called frequency bands). Basically, an equalizer can be
seen as a set of filters, each of them applying a certain amplification/attenuation to a par-
ticular frequency band.
On each band, the boost/cut is not constant for all frequencies but rather continuously
evolving between both ends of the band. This is called the frequency response — also re-
ferred as the “shape” of the band. Here are a few common shape types:
▪ Shelving: Raise or lower a frequency and everything above or below it. A low shelf has
a plateau at the bottom end, a high shelf at the top. This is the kind of EQ behind the
“Bass” and “Treble” knobs on your hi-fi amplifier.
▪ Low-cut, high-cut: Cuts the frequencies above or below a certain frequency. Also
called high-pass and low-pass filters, the important aspects are where the cut (or
pass) starts, and the slope of the downward curve. A steep slope sounds less natural,
but can be more precise.

SOLID EQ - Manual - 5
 Introduction
The SOLID EQ

▪ Bell: Boosts/cuts frequencies around a center frequency. At this center frequency, the
boost/cut is maximum. Below and above this frequency, the boost/cut falls back to
zero on both ends of the frequency band, following a bell shape.
The number, size, and shape of the frequency bands differ upon each equalizer implemen-
tation. Moreover, the characteristics (including unaccuracies!) of the analog components,
together with the way they are used, draw up the sonic character of each device.

Graphic vs. Parametric Equalizers

Most equalizers can be grouped into two main categories:
▪ Graphic equalizers allow you to change gains for a certain number of fixed frequency
bands. Most of the time, this type of equalizer provides you with a series of vertical
gain faders, each of them controlling the amplification of a particular frequency band,
and from wich you can visually shape the overall frequency response of the equalizer
(hence the word “graphic”).
▪ Parametric and semi-parametric equalizers, on the other hand, allow you to adjust fur-
ther parameters for each frequency band (e.g. their position, size and shape). This
gives you much more flexibility in altering your input signal. While the exact parame-
ters available depend on the way each equalizer is implemented, in general you will
find the following parameters or their equivalents for each frequency band:
◦ A frequency parameter (sometimes called cutoff frequency) allows you to define the
center frequency of the band.
◦ A width parameter (sometimes called quality factor, or Q in short) allows you to ad-
just the bandwidth to which the amplification/attenuation is applied.
◦ A gain parameter controls the amplification/attenuation applied to the band. Most
of the time, it defines the amplification/attenuation at the frequency set above.
The SOLID EQ belongs to the latter category.

1.2 The SOLID EQ

Originally released in the mid-1970s, the analog mixing console that inspired the SOLID
MIX SERIES soon became the central element in many of the greatest studios around the
world. Claiming to be the mixer behind more platinum selling albums than all other con-
soles combined, this mixing console litterally contributed to the sound of the 1980s. The
precise and transparent sound of its full-featured channel strips set new references for
mixing engineers.

SOLID EQ - Manual - 6
 Introduction
The SOLID EQ

The SOLID EQ brings you the equalization section of this highly acclaimed channel strip.
This equalizer offers two fully-parametric mid-range bands and two semi-parametric high
and low bands, and notably recreates the switchable E and G characteristics of the original
gear for working on all kinds of audio materials.

Additional Features
Bringing analog hardware into the software world allowed us to add a few great features,
which are available in the expert panel of the SOLID EQ. For example, the SOLID EQ not
only recreates the EQ section of the well known mixing desk, but also adds the infamous
high-pass and low-pass filters from that same desk. And, of course, as with any Compo-
nent in GUITAR RIG, you can save and recall presets for your favorite settings.

SOLID EQ - Manual - 7
 Using the SOLID EQ
Loading the SOLID EQ

2 Using the SOLID EQ

This chapter describes how to use the SOLID EQ.

2.1 Loading the SOLID EQ

Once installed, the SOLID EQ is found in the Component Pool, in the SideKick of GUITAR
RIG.
To load the SOLID EQ:
1. Click the Components button at the top of the SideKick (the left column in GUITAR
RIG’s window) to display the Component Pool.
2. Find the Solid EQ box in the Pool, whether under the EQ category (if components are
currently listed by categories) or under the Solid Mix Series group (if components are cur-
rently listed by products).
3. Double-click the component or drag and drop it onto the Rack to load it.

Sound Settings
Here are a few things you should be aware of when using the SOLID EQ in GUITAR RIG.
▪ By default the input routing of GUITAR RIG is set to mono. To activate stereo input,
switch on the right channel by clicking the R in the Global Header of GUITAR RIG.
▪ To make GUITAR RIG plug-in instances receive stereo input by default, start GUITAR
RIG as a stand-alone program. Click Options to open the Options view. In the Options
view, click the Preferences button, then select Stereo from the Default Plugin Input Configura-
tion menu. Close GUITAR RIG. The next time you open a GUITAR RIG plug-in in your
host software, it will accept stereo input signals.
▪ By default GUITAR RIG’s gate is enabled. To deactivate the gate, click the Gate button
in the Global Header of GUITAR RIG.

The Global Header in GUITAR RIG

2.2 SOLID EQ Interface and Controls

This section describes the SOLID EQ interface and controls in detail.

SOLID EQ - Manual - 8
 Using the SOLID EQ
SOLID EQ Interface and Controls

The SOLID EQ user interface.

The four sets of colored knobs represent the four main frequency band of your equalizer.
(1) LF section: controls for the low frequency band.
(2) LMF section: controls for the low-middle frequency band.
(3) HMF section: controls for the high-middle frequency band.
(4) HF section: controls for the high frequency band.
These four sections hold the following controls:
Control Description
HZ or KHZ knob Adjusts the band’s center frequency. Thus, this parameter sets the overall
position of that frequency band in the spectrum. For the LF band, the fre-
quency is measured in hertz; for the LMF, HMF, and HF band, it is measured
in kilohertz.
DB knob Adjusts the amplification gain (i.e. the amount of cut/boost) at the band’s
center frequency, in decibels. With the knob at the center position, the
frequency band is left untouched.

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 Using the SOLID EQ
SOLID EQ Interface and Controls

Control Description
BELL switch Switches between shelving and bell response curve: With the switch disa-
(LF and HF sections only) bled, the low/high frequency band has a shelving response curve. With the
switch enabled, the band has a bell response curve (similar to those of
the LMF and HMF bands).
Q knob (quality factor) Adjusts the width of the frequency band by modifying the steepness of
(LMF and HMF sections only) the bell response curve around the center frequency. With the knob at full
right, the frequency band is wide and the slope of the bell is very soft. By
turning the knob counter-clockwise, the slope becomes steeper and the
band narrower — in other terms, less frequencies are affected by the cut/
boost and the equalization on this band is more selective.

As a rule of thumb: Use a low Q (wide bandwidth) when boosting, and a high Q (a narrow
spike) when cutting.

(5) Curve Type Selector: Switches between two characteristics for the overall response
curve of the EQ. Both settings notably differ by their slope behavior:
▪ E (switch on the right): With this setting, the LF and HF bands have a slightly softer
slope, while the LMF and HMF bands keep a constant bandwidth at all gains. This set-
tings allows achieving high Q values even for low gain values, which can be very use-
ful when you want to select narrow frequency bands (e.g. when making surgical ad-
justments on specific sounds).
▪ G (switch on the left): With this setting, the LF and HF bands have a steeper slope. Fur-
thermore, the bandwidth for the LMF and HMF sections vary with the gain set by the DB
knob: The lower the cut/boost, the wider the frequency band. This can be useful when
you want to apply subtle corrections to complex audio material (e.g. whole mixes).
For the LMF and HMF band, with the DB knob at full left or full right (i.e. at full amplification
or attenuation), the E and G response curves are identical.

SOLID EQ’s Expert Controls

The controls found in the expert panel of the SOLID EQ further extend its usability. They
notably include two additional frequency bands that recreate the notorious high-pass and
low-pass filters from the same well-known mixing desk.

SOLID EQ - Manual - 10
 Using the SOLID EQ
SOLID EQ Interface and Controls

To display the controls of the expert panel, click on the small arrow on the right side of the
Component.

(6) LPF knob: Additional low-pass filter allowing you tu cut the high end of the frequency
spectrum.
(7) HPF knob: Additional high-pass filter allowing you tu cut the low end of the frequency
spectrum.
(8) Component Preset display and menu: Like in all GUITAR RIG Components, this shows
the name of the current Component Preset and allows you to manage the Presets for this
Component.
For more info on the Component Presets, please refer to the GUITAR RIG Application Refer-
ence.

SOLID EQ - Manual - 11