Klanghelm IVGI 2


Introduction

IVGI's base sound is comparable to the DESK mode in the big brother SDRR. Both started with the same base but emerged into different directions. You can think of both as twins, who were separated at birth.

IVGI is designed to react dynamically to the input signal. Even the modeled fluctuations react dynamically and also change depending on the drive setting, so that it doesn't get in the way of the SOUND. Stereo tracks benefit from it's modeled crosstalk behavior with controllable level. Just as its big brother SDRR, IVGI features a “Controlled Randomness”, which determines the internal drift and variance inside the unit. It contributes to the liveliness and realness of IVGI's saturation character. All internal processes are modulated to some extent to make this possible.

IVGI gives you a sensible amount of controls to manipulate the character of the saturation itself. It offers a unique ASYM MIX knob to alter the symmetry of the signal without affecting the harmonic content. Usually, asymmetry leads to an increase of even order harmonics. But in IVGI's case, dialing in the asymmetry makes the negative part of the signal “cleaner”. This way you can preserve the dynamic structure of the source and get a more transparent result. Actually, you can think of ASYM MIX as a transparency control. Note, that the ASYM MIX is not a typical MIX knob.



IVGI also lets you alter the frequency response of the saturation. the RESPONSE control is the result of clever eq-ing, a bunch of pre- and de- emphasis filters and some specific compression characteristics. all affecting the actual character of the saturation. If you turn the knob to the left, low frequencies are more affected by the saturation. Also, you'll notice some high end roll-off and some low end bump and compression. OTOH, if used sparingly, the RESP0NSE control increases transparency. Turned to the right, high frequencies are more affected by the saturation. On more extreme settings you'll notice some increased HF compression and hysteresis effects. Also, if turned to the right, the signal gets brightened up, so that the typical high end loss caused by the saturation circuit, gets compensated with a super gentle and unobtrusive High Shelving Filter, especially designed for IVGI.

IVGI features a comprehensive (VU, 300ms rise/fall) metering too. You can monitor Input, Output and the difference between Input and Output RMS levels, making level-matching easy. I've implemented this to make it easier to not getting fooled by “louder is better” during mixing. Just make sure the needle moves around 0 dB, then you're good to go. If the needle shows negative values, then the input signal is louder than the saturated signal, just turn up the OUTPUT until the needle hits 0dB again. If the needle is in the red, then the output is louder than the input. Just lower – uh, you know what to do :-).

IVGI is internally calibrated to 0VU = -18dBFS.


WORKFLOW:

1. use the input TRIM control to make sure, that your input signal hits around 0dBVU. This is the optimal work level for IVGI. 
2. use the DRIVE to adjust the saturation effect to taste.
3. use the OUTPUT control to compensate for any volume loss caused by the saturation effect.



Comments

Post a Comment

Popular posts from this blog

Drum Bus EQ settings

Image
Remember that you need to use additive EQ only if necessary or else you’ll end up with a muddy mix, that is why a lot of people recommend subtrative EQ because it’s much safer. So use this approach wisely and keep in mind that this is a guideline. Low-End:  For your drum bus, you won’t need a drastic high-pass filter. Create a small high-pass filter till around 30Hz and not more. Boominess:  Make a small cut in the 60Hz range to remove some boominess. Don’t use a low-shelf EQ, use a bandpass filter with a narrow Q factor. Fullness:  If you have t hin and wimpy drums, make a boost in the 125Hz frequency range. This will add some punch and fullness. Body:  A really small boost in the 250Hz range will add more body and weight helping the drums sound warmer. Boxiness:  Since you’re going to add a lot of frequencies you’ll need a big cut around 500Hz to remove mud and boxiness. Attack & Presence: 2 boosts, one around 1kHz and another...
Read more

Ableton : Bass Design With Operator

Image
Operator offers a great deal more than just FM leads and pads. Liam O’Mullane has the low-down in this Ableton Live Tutorial With the topic of issue 124’s lead feature being synths, we thought we’d show you around Live’s very own hybrid synth, Operator. Although its name comes from the FM synthesis-based term for an oscillator, Operator can function both as an additive and subtractive synth. In fact, given the less than predictable nature of the alternative Analog synth (which is, of course, part of an analogue synth’s charm), we tend to reach for Operator to create any synth-like sounds when we want 100% predictability. On that note, we’ll look at it as a subtractive synth first to keep things simple while investigating its features. Got ’rithm The four divided sections to either side of Operator’s central display are called Shells. After clicking the bottom right-hand Shell this Global Shell will reveal 11 colourful algorithm symbols across the top of the central displ...
Read more