Haven't tried it yet, looks like something potentially useful to get quick results, but i don't really need speed tbh. Also i kinda enjoy bashing my head against the desk looking for the right eqing the traditional way so...no reason to buy. Will try it though, maybe i'll chnge my mind. Also, looks trippy af.
\\ May be cool to bang your head a little less against the wall and EQ after this. It essentially flatens the eq curve
We need another eq like we need another hole in our heads.. I would honestly like to see more multi effects being made with reverse options and or time based effects like effectix I believe there is so much more sonically we could get
Bought this one. Sounds great to my ears for what it does to vocals and a few instruments I tried it on. On a mix it brings out clarity like Gulfoss. Big user of trackspacer and spectre so this will be used in all my mixes as well.
What separates it from Gulfoss? I love Wavesfactory but they're not really filling a hole in the market with this plugin (unless i'm overlooking something about it, i haven't used it yet myself)
"Gullfoss uses Soundtheory’s computational auditory perception model to understand which audible elements are competing for your attention." "Wavesfactory EQ works by dividing the incoming signal into 32 bands. For each band, it calculates the gain and then determines a target volume." They seem different. Like gulfoss has a lot more "AI" things going on with it where as wavesfactory is more basic as it only has 32 set bands and it flattens the eq curve (and also mid-side which I like).
Looks like a Gullfoss competitor which adjusts freq ranges to pink noise, but the handling and the options seem to be nicer and more versatile. Bonus, low level min sys req. In theory and in terms of what they're claiming, yes, in practice it doesn't seem so.
I don't understand these wave of plugins, like their made of coders without any contact with actual mixing engineers - yes, we need the sum of all the elements the mix to roughly result in a nice, downward line on the FFT. But not the individual tracks! A bass shaped to pink noise slope is weak AF, a cymbal with the same processing is dull AF. Vocals become lifeless with this treatment. Then, if the mix is nit properly balanced, such a processor on the master buss will just push down some areas and lift others, with no regard whatsoever about the quality of the elements moved around I think the only one that understood this was the Voxengo guy - if I'm not mistaken, on gearspace said something along the lines "you dumbasses like these linearizers? here's one - teote"
Don't forget BABY Audio's Smooth Operator. Not even gonna pretend that I wasn't prepared to dislike that plugin straight out the gate, from it's pansy-ass color scheme to it's clinically ugly interface, but it's actual a superb tool, doing its cleanup differently than Gulfoss, and not just in a sub-par clone-of-its-superior sense either, just a different algorithm or something. And, since we're on the topic of Wavesfactory, and BABY Audio advertises Smooth Operator (partially,) as a ducker, I have to say that I still prefer TrackSpacer to Smooth Operator for low-end, spectral sidechaining; Smooth Operator isn't bad at the task. I just prefer the results I get from Trackspacer's the majority of the time. On a slight tangent, the only that bothers the hell out of me about Smooth Operator is that BABY Audio hasn't killed the "Classic" or "High-Res" mode options, as the Classic mode isn't only a less-precise, lite-weight/lower latency mode, it's their old algorithm with well-known aliasing issues (at least it was the last time I compared the original Smooth Operator with their newer versions. If they've changed that recently, feel free to correct me.)
Of course it does. Even Aleksey's Limiter has a hidden panel of goodies to tweak and twist and turn and noodle with.
Nobody mentioned Thimeo Auto EQ, which has some unique and also very elaborate controls. But it has exactly the same problem as TEOTE, and that is sound granulation as well as abrupt gain changes in some situations and slight overall gain wavering - all of that unacceptable. Auto EQs are in fact 'frequency flatteners'. But the main task of EQ-ing is getting the right slope for a given frequency region (bass, vocal, midrange, high and harmonic, basically), and auto EQs (using pink noise or psycho acoustically modified pink noise curves as a reference) are unable to do it. They just level to a (chosen) degree dips and resonance peaks leaving slopes untouched. So most of them include classical manual EQ-ing, which makes nonsense of their intended purpose. One can use factory presets, but they are rudimentary, restricted to some elementary situations and are some sort of guesswork. In short, they all imply a necessity to correct their result (i.e. additional manual EQ-ing). So I use AYAIC Ceilings of Sound, manual, but all done in a single pass with great visual feedback.
I think you're basically right. But a lot of people have no clue how to treat a sound and this can be helpful to brighten up too dull sounds or clean up too muddy sounds in a fast and easy way. Also this plugin is very limited in its range, you will hardly end up with a snare turned to pink noise. Additionally, it has the option to adjust the amount per band (see vid) so you can reduce its effect for specific freqs. At the end of the day, you have to use your ears regardless of the tools you're using to mix, right?
I mean, Gulfoss works on individual bands too. How else do you think it works? They're basically the same thing imo
