(卧龙凤雏)
(卧龙凤雏)
第三方登录：FabFilter Pro-Q 2 v.2.0.2 版 高音质互动式 EQ &(&44&)1 / 3 页
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14-12-13 22:50
以下是嵌入的网页：
Pro-Q 2 提供了新的功能，比如全屏模式，独特的自然相位处理，自动增益，频谱抓取，Gain-Q 的交互性项，斜面支持所有滤波类型，
Pro-Q 2 比它的前身更好更有效率，然后还减少了内存的占用
New in Pro-Q <font color="#ff:
* Added Retina support on OS X and High DPI support on Windows.
* Introducing Solo Gain. While soloing a band, you can now adjust the listening gain by moving the mouse up and down.
* Fixed a bug that caused the Gain Scale slider (in the output section) not to work in Linear Phase mode,
&&and improved its behavior in Natural Phase mode.
更多产品资讯（请自行查看）：
DATE : & &&&
PLATFORM : WiN32 - VST/VST3/RTAS, WiN64 - VST/VST3
PLATFORM : MacOSX - AU/VST/VST3/RTAS
PC /Mac R2R 版
FabFilter.Pro-Q.2.v2.02 (6 MB)
FabFilter.Pro-Q.2.v2.02 MacOSX&&(3 MB)
[ 本帖最后由 狗公腰 于 14-12-13 23:24 编辑 ]
本帖子中包含更多资源
才可以下载或查看，没有帐号？
14-12-13 22:54
顶狗哥！！
14-12-13 23:08
链接： 密码：vn0c
mac版在第三页
牛掰牛掰牛掰牛掰牛掰牛掰牛掰牛掰牛掰
14-12-13 23:24
用过 极好无比
14-12-13 23:59
感谢狗哥资讯！
14-12-14 00:25
谢谢狗哥，谢谢3楼。
14-12-14 01:01
谢谢狗哥，谢谢3楼。
14-12-14 04:32
谢谢狗公腰老师！
14-12-14 07:24
谢谢狗哥，谢谢3楼。
14-12-14 07:31
非常感谢。
14-12-14 07:53
如果要选出2014最佳EQ的话，我会把票投给它.
14-12-14 08:06
感谢下个学习
14-12-14 10:26
狗哥辛苦！
14-12-14 12:06
让混音更好更出众！FabFilter Pro-Q 2不仅仅是一个强大的EQ插件，它随时都可以成为您首选的声音塑造工具。它带有8种滤波类型和多达24个频段的EQ，无论是微调还是大量地滤波处理，它完全可以胜任。如果您想只用一个EQ插件进行混音和制作，那么 Pro-Q 2会是一个明智的选择。
十分全面的EQ和滤波；
为了达到最高的声音质量，采用全新设计的EQ和滤波引擎；
干净的线性相位模式和具有模拟感的自然相位模式可供选择；
零延迟模式让其十分适合用于录音和现场；
通过钢琴卷帘视图能够根据音符来选择频率；
自动增益模式让混音更平滑，不会破坏整体音量平衡；
多种滤波类型，包括Bell（钟型） Notch（陷波）, High/Low Shelf（高/低搁架）, High/Low Cut（高/低切）, Band Pass（带通）, Tilt Shelf（倾斜搁架），并且所有的滤波器的斜率高达96dB/
运用EQ Match可以让一个音轨的声音特性与另一个音轨相匹配；
Mid/Side模式能够使混音的均衡调节更加精准。
还有MIDI Learn，取消/重做，A/B对比，智能参数插值，自动化，高级优化等等功能。
14-12-14 12:13
简介 &&让混音更好更出众！FabFilter Pro-Q 2不仅仅是一个强大的EQ插件，它随时都可以成为您首选的声音塑造工具。它带有8种滤波类型和多达24个频段的EQ，无论是微调还是大量地滤波处理，它完全可以胜任。如果您想只用一个EQ插件进行混音和制作，那么 Pro-Q 2会是一个明智的选择。十分全面的EQ和滤波；为了达到最高的声音质量，采用全新设计的EQ和滤波引擎；干净的线性相位模式和具有模拟感的自然相位模式可供选择；零延迟模式让其十分适合用于录音和现场；通过钢琴卷帘视图能够根据音符来选择频率；自动增益模式让混音更平滑，不会破坏整体音量平衡；多种滤波类型，包括Bell（钟型） Notch（陷波）, High/Low Shelf（高/低搁架）, High/Low Cut（高/低切）, Band Pass（带通）, Tilt Shelf（倾斜搁架），并且所有的滤波器的斜率高达96dB/运用EQ Match可以让一个音轨的声音特性与另一个音轨相匹配；Mid/Side模式能够使混音的均衡调节更加精准。还有MIDI Learn，取消/重做，A/B对比，智能参数插值，自动化，高级优化等等功能。
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Fabfilter Pro-Q 2
EQ Plug-in For Mac OS & Windows > By Sam InglisFabfilter’s Pro-Q already did everything an EQ should do — so what can they have added in version 2?
When the original version of Fabfilter’s Pro-Q was released in 2011, it had probably the best user interface of any EQ plug-in I’ve seen. Simple, informative, flexible and unhampered by trying to look like a piece of hardware from 1968, Pro-Q made it easy to do whatever needed doing, whether that was gentle tonal correction, notching out an annoying resonance, clearing up a muddy low end or any of the other innumerable tasks for which one might reach for an equaliser.
It quickly became my first-choice EQ plug-in, and I’ve spent much of the last four years happily popping Pro-Qs into insert slots. If I’m honest, in fact, it hadn’t really occurred to me that there might be ways in which it could be made even better! Fabfilter themselves, though, have not been so complacent, and version 2 of Pro-Q offers a positive avalanche of new features.
Some of these are quite subtle, like the small gear wheel that now appears between the Gain and Q dials when you create a parametric EQ band. This enables ‘Gain/Q interaction’, a common property of some analogue EQ designs whereby the bandwidth narrows as more boost or attenuation is applied. The range of Q values available in Pro-Q 2 also goes further into the realms of vertiginous steepness than the original. Another novelty is a ‘Natural Phase’ mode which is said to match the phase response of analogue EQ des in most practical situations I found it hard to tell the difference, but it is said to help preserve audio quality especially when using very high Q settings.
Pro-Q already offered the usual shelves and filters alongside its parametric and notch options, but Pro-Q 2 adds a couple of interesting ‘compound’ shapes. The band-pass option is like having high- and low-pass filters centred on the same cutoff point, and is useful for isolating a small area of the frequency spectrum, for instance if you want to create a ‘telephone’ vocal effect. Probably more useful more of the time, though, is the new ‘tilt shelf’, which is like having high and low shelving bands centred on the same point, with one cutting while the other boosts. By setting a very low Q value, you can indeed ‘tilt’ the frequency response of a source in surprisingly effective fashion. One of my vanishingly few niggles, though, is that if for instance you change an existing band from a low shelving cut to tilt shelf mode, it ‘tilts’ the other way from what you’d expect, with a low-frequency boost and high-frequency cut.
The most telling improvements have been made in the area where Pro-Q already stood out from the crowd: its graphical user interface. In the original, real-time spectral analysis was available, but you had to enable it manually, and decide whether you wanted the input or the output signal to be displayed. In Pro-Q 2, it’s enabled by default, with the input and output signals superimposed so that you can see exactly what your EQ settings are doing to the sound. You can also display the spectrum of the side-chain input, if you’re using one (of which more in a moment), and in case all this extra information makes things cluttered, you can now resize the entire window to a choice of four dimensions, or zoom in horizontally on a particular area of interest. A button at the top right-hand side of the Pro-Q 2 window puts it into full-screen mode, and a button in the opposite corner brings up a musical keyboard along the bottom, so that you can visualise the spectral display in terms of note pitches, and quantise the frequencies of individual bands to them.
And that’s not all. Hover the mouse pointer over the spectrum analyser for a few moments, and a thicker white line appears, displaying the integrated peak level over time. As the peaks and troughs build up, you can then simply click one with the mouse to create an EQ band targeting that area.
Hover the mouse over the lower right part of the screen, and you’ll see that the output gain control has, er, gained some new features, too. These include a Gain Scale slider, which lets to simultaneously vary the amount of cut/boost that all bands are applying, and an effective Auto Gain button, which automatically adjusts the output gain to maintain a consistent subjective level, so you can get an unbiased verdict on the benefits of your EQ settings.
There’s more, too, including even more flexible stereo options and a global polarity switch, and the plug-in as a whole is said to be twice as CPU-efficient as its predecessor. It will even load version 1 presets. For me, though, the most impressive thing about Pro-Q 2 is that Fabfilter have added their shedload of new features without ever compromising the immediacy and usability that made the original so good. It sounds great, it looks great, and it does everything you could possibly want from an equaliser. What’s not to like?
The only directly comparable EQ plug-in I know of is DMG Audio’s Equilibrium, which has a ridiculously comprehensive feature set but is perhaps a touch less streamlined in use.
EQ matching in Pro-Q 2. As you can see, it is also trying to match the level difference between the source and reference, resulting in a
hefty boost!If you’re working in a DAW that supports side-chaining, you can take advantage of Pro-Q 2’s simple but very effective EQ Match feature, which lets you transform the spectrum of your source to match that of any reference. Simply route the reference audio to Pro-Q 2’s side-chain input, press Play, and when you’re happy that its analyser has built up an accurate picture of both tracks, hit Match to create an EQ curve. The really neat thing here is that you can then use a simple slider to vary the number of EQ bands anywhere from zero to 24; reducing the number of bands used obviously gives you a less precise recreation of the reference sound, but can be a very useful way of obtaining broad-brush tonal correction. Note, though, that Pro-Q 2 does not automatically compensate for any level differences between the reference and source tracks, so if one is much louder than the other, the Match curve will be doing a lot of broadband boost or attenuation as well as tone-shaping.
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