Some will click with the interface straight away, but those who are accustomed to working with quantifiable values for attack, release and so on might take longer to get to grips with it. The beauty of this is that it not only cleans up unwanted infrasonic rumble, but can also accentuate the fundamental frequency of the bass drum at the same time, for even more clarity and sonic impact. The midrange filters automatically adjust their bandwidth as you vary the gain, and have an uncanny ability to find magical 'pockets of soul' inside the music and draw them forward, effortlessly. Instead, it offers pure frequency-shaping power without anyoverly apparent line-stage coloration getting in the way. The three separate stages naturally interact to some extent, and I'd recommend downloading the demo and experimenting with one section at a time, with the others bypassed. By contrast, the proportional-Q mid-bands can deliver more precise, surgical results at higher amplitudes, yet the sound remains stable and somewhat natural, thanks to the special design of their filter curves. I digress… Back to the bands.
Your attention is diverted from the traditional number-based frequency paradigm as you're forced instead to rely on your ears and pay attention to the more abstract sound qualities being affected. Note how the shelving filters add weight to the signal and open up the top end! We cannot accept unauthorized returns. The result is both wonderful and intriguing. But perhaps overcooking things is more to your taste?. Your high pass filter is based on a butterworth filter, which has a 12db per octave rolloff with a slight bump of resonance at the corner. I created a number of audio examples to demonstrate more clearly the sound and capability of the Electra.
Rather than struggling to make a warts-and-all copy of a piece of outboard gear, Kush Audio have thought about how to translate their hardware design philosophy into a plug-in that takes advantage of the power and flexibility available in software. The limited number of Compression controls suggest — wrongly, as it turns out — that they'll leave you with less than complete mastery of your sound. This should be a great means to gently but effectively warm up or thin out any source; in other words, all the body and the weight of any programme material may be defined with just this single filter band. The interaction works the same when cutting frequencies, helping you cut out those odd resonances without having to bother with the Q all together. When it comes to getting the best gear, your tastes are probably pretty particular. The midrange filters automatically adjust their bandwidth as you vary the gain, and have an uncanny ability to find magical 'pockets of soul' inside the music and draw them forward, effortlessly. This baby goes from 25Hz all the way to 400Hz and finds a way to cut what needs to be cut while leaving the rest in tact.
The more you boost or cut, the narrower these filters get, which makes them gentle at low gain and powerful at high gain. Go check it out and demo it. Notably, the low shelf can be switched to a 12dB resonant high-pass filter. The Electra is analog at its finest, and represents Kush's ongoing commitment to pushing the envelope and creating processors that fuel the creative and artistic aspects of mix engineering and music production. There's only one main control, which you turn up for more compression, plus a supporting side-chain high-pass filter, which can be used to prevent, say, the low-frequency energy in a kick drum triggering the compressor. Thankfully, then, you can push this device into processing territory that most real hardware fears to tread: it's one thing making a compressor breathe or pump, but it's quite another pushing it into the kind of territory that's on offer here, which I'm sure will find as many fans in pop, dance and hip-hop production as the more subtle effects will in country, folk, rock and blues.
It just sort of forces you to instinctually work from a different place other than seeing it on a plug-in. The tight, yet somehow round and smooth sound I could to achieve on electric bass and guitar was satisfying, and the analogue-like sweetening is as good for vocals and acoustic guitars as any modelling plug-in I've heard to date. On a drum bus, I was able to achieve a nicely sweetened sound with it, and the sound had a depth and solidity that many plug-ins seem to leave me wanting. Instead, the aim was to draw on Kush's analogue expertise to create a completely new plug-in processor. I wouldn't want to use Headroom and Saturation heavily on every source, though. If you need info in advance, like when a package will be scheduled for delivery attempt, please contact us in advance.
You must be available to sign for packages, returned and re-shipped items will require an additional payment to send again this triples our ship cost, free or paid shipping is for one trip to you to receive. Conventional modelling has its place, and will get better as time passes, but if more developers took a leaf out of Kush's book, we'd all have a better set of tools right now! I'd recommend you start by bypassing the Compression and Density sections and focusing your attention on the Saturation — and, in particular, the small Headroom knob. Guitars are really fun to use it on. Only Kush could do justice to their own hardware, and much like the Clariphonic before, they've done it again. Having no numerical values forces change in the mix approach, breaking conventional patterns and forcing the engineer to rely on feel. The Germanium Tone Control by Chandler Limited is similar to the Electra, in that it marries different filter topologies borrowed from several vintage units in a single package.
Only Kush could do justice to their own hardware, and much like the Clariphonic before, they've done it again. Low shelf, high proportional Q sweep. Low proportional Q, low shelf. Every Kush processor — both analog and digital — is obsessively designed to open up new sonic possibilities for your art while keeping you firmly in 'right brain' creative mode. Subtle when used lightly, powerful when cranked. Welcome to a new video. The result is a focused punch to the area you are boosting.
Then you have 250 to 5. I just threw it on this lead vocal. The low band is a shelf fixed at 90Hz and gives a very tight response without causing your mix to crumble into a flabby mess. Scott says that the name refers to the way the typical shape of the mid-bands, with its rather wide skirt and the narrow top of the bell, allows the user to control signals and to bring out dynamically interesting structures in the source material. The first thing you will notice is the interface only has frequency values showing the corners frequencies of each band and dB value.
These things are built sort of the outer ring and inner ring. This is intentional: Scott wanted the plug-in to feel friendly and intuitive, but also wanted the interface to force the user to experiment and make sonic judgements using ears alone. But, in my view, it was a good idea to provide a little visual guidance on the faceplate here, and, at least for my personal tastes, I feel that it could be a little more precise. The Saturation section features a Headroom control, which is used to find the distorting 'sweet spot'. Then you have 250 to 5.