FilterBank, McDSP’s first product, is an equalizer plug-in that rivals any analog EQ with its flexible design and substantial feature collection.
FilterBank can emulate any EQ, or be used to create a distinct custom EQ.
FilterBank is three plug-ins:
E606 - Parametric, high and low shelving EQ, high and low pass filters
F202 - Steep high and low pass filtering with resonant Q control
F606 - Parametric EQ with variable Q modes
Since its debut in 1998, FilterBank has become a legend within the audio community. With its unique Peak, Slope, Dip controls and variable Q modes FilterBank can emulate any EQ, or be used to create a distinct custom EQ.
Shelving and Parametric EQ
High and Low pass filters with resonance control
Unique Peak-Slope-Dip Shelving EQ parameters
Variable parametric Q modes
Analog Saturation Modeling
Double precision processing
Ultra Low Latency
Mono and stereo versions
HD v6: AAX DSP/Native, AU, VST3
Native v6: AAX Native, AU, VST3
For plosive removal (reduction of the low frequency parts of speech from sounds like ‘thhh’ and ‘sssp’), use the high pass filter, at its steepest setting (12 dB/Oct), around 80 to 120 Hz. Similar plosive reduction can be accomplished using the low shelf of the E606. Note increasing the Dip control, with a negative amount of gain, will actually produce a slight gain boost in the frequency range just above the shelf. This smaller gain boost could mask what has been removed by the shelf, making the vocal or dialog sound ‘less filtered’.
Boost the low shelf EQ gain significantly, and maximize the Peak, Slope and Dip values. Then update the frequency until the kick drum is ‘found’ (i.e. the EQ frequency is approximately equal to fundamental frequency of the kick). Now adjust the Slope control from max to min. Note how a gentler EQ shelving curve (Slope near min value of 0.0) gives a more ‘rounded’ boost of the kick drum, and also begins to apply some of its EQ boost to the snare. On the other hand, a steep EQ shelving curve (Slope near max value of 10.0) isolates the boost of the kick significantly, while leaving the snare less effected.
Similar to the use of the kick and snare separation with the low shelf EQ, varying the slope of a low shelf EQ boost on a bass guitar track can create a variety of tones. Some use of the high pass filter will also get rid of extreme low end frequencies caused by finger picking and slapping. Experiment with the mid range of the bass guitar - scoop out significant portions between 800 and 8 kHz to see if that helps the bass sound ‘warmer’ and easier to mix in with the rest of the tracks.
"FilterBank is the first plug-in I use on every single audio track."
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