Selig Audio Selig ColoringEQ Manual de usuario

s e l i g audio &

Selig ColoringEQ

User Guide

Version 1.0

Table of Contents

Selig ColoringEQ 4

Quick Start 4

Overview 4

Main Features 5

The Front Panel 5

Bypass 5

Signal Indicator 6

Note On Indicator 6

Patch Browser 6

Routing Mode 6

Spectrum Display 6

Sequencer Control 7

Input/Output Levels 7

Peak Hold Display 7

Harmonics 8

EQ On 8

Sat On 9

Fine Tune 9

The Filter and Equalizer Bands 9

Filter 1 & 2 9

EQ Bands 1-5 10

Masters 12

The Main Display 13

The Back Panel 14

This is where the fun begins… 14

Sequencer Control 15

Audio I/O 15

CV Control 16

Misc 16

Applications 16

Basic Concepts 16

Four Ways to add“Color” with the ColoringEQ

Focused Saturation 18

Note and Gate Control 18

Audio I/O 19

Included Presets & Combinators 19

Appendix 19

Filter Curve Illustrations 20

EQ Curve Illustrations 22

MIDI CC Chart: 27

Credits 29

Selig ColoringEQ

Thank you for your purchase of the Selig ColoringEQ! It is our hope you will get years of use

and enjoyment from this product provided you give it the care and regular maintenance it

deserves.

Quick Start

You can jump right in and use the ColoringEQ as you would any EQ. Turn up the drive control

to 50% on any band and you will automatically add saturation along with the EQ’ed signal.

Use the Masters section to globally tweak the entire EQ curve and saturation amount at once,

use the Spectrum Display to see what’s up, and use the Peak/Hold meter to make sure your

levels stay where you want them adjusting the output level accordingly.

Try adding 50% drive to a high shelf for “exciter” type eﬀects on acoustic instruments and

bright synths, try it on mid range EQ for bringing instruments and vocal forward, try tighter Q

boosts on low frequencies for turning wimpy drums into thunderous hits.

The ColoringEQ also responds to Instrument CV and Note data from the sequencer. Make sure

to create a track for the Coloring EQ when using Note data (MIDI), and make sure to select

“Receives Notes”if using the ColoringEQ inside a Combinator. Then select “Sequencer Control”

and “Note” on the front panel and you’re good to go!

Overview

Introducing Selig ColoringEQ, a full featured 7 Band Para-Graphic Musical Saturating EQ!

Selig ColoringEQ is a “coloring equalizer” that is at once an EQ and a saturator. Each EQ band

feeds independent saturation circuitry according to the EQ’s settings. This allows easily

coloring of your tracks in ways ranging from subtle shading to coloring totally“outside the

lines”, simply by EQ’ing.

Since you don’t always want to saturate/color the entire frequency spectrum, the ColoringEQ

takes a “targeted saturation” approach. ColoringEQ allows you to precisely color inside the

lines when the mood strikes you.

While our unique hybrid EQ/Saturation approach brings with it a high level of control, it is also

designed to work well right out of the box at the default settings. So jump right in and EQ as

you normally would, and enjoy a little more color in your life.

Choose from among many vintage and modern EQ and Filter types. Take advantage of the

lter’s continuously variable slope control and wide ranging resonance. Tune each band by

pitch across the entire audible frequency spectrum for a more “musical”approach to EQ. Use

the Solo Buttons on each band to ne tune the EQ and Saturation’s eﬀect.

Get started by utilizing the “Touch Display” to draw your basic EQ shape. Then continue by

blending in controlled amounts of the saturated signal along with the EQ’ed signal to get a

high level control over the amount and color you add. You can alternatively use the EQ on it’s

own, solo a band or two for 100% saturation eﬀects, or use the “Sat Only” mode (by turning

the EQ section oﬀ) which uses the EQ settings only to determine the saturation “color”.

The Master Controls can further rene the overall color and shape of your tracks.

Master Gain allows you to compare before/after at equal levels, and to even choose halfway

between before and after! Master Tune eﬀectively “transposes”your EQ curve. Master Q allows

overall widening or tightening of the EQ curve. The lters can included or excluded from

master control. You also control the overall saturation eﬀect, or solo all bands with a single

button.

Getting Selig ColoringEQ is like getting a brand new box of crayons - a world of possibilities

await!

Main Features

•Independent saturation on every EQ band

•A carefully curated selection of EQ/Filter types ranging from vintage to modern

•Dedicated Filters with resonance and continuously variable slope

•EQs and Filters tuned to semitones

•Solo buttons on every EQ band for ne tuning saturation and EQ

•Master controls for Gain, Tune, Q and Saturation

•Four diﬀerent ways to combine EQ and Saturation

•CV and MIDI Note/Gate control

•Every EQ band has identical controls/ranges

•Touch Display for EQ curve including spectrum analyzer with “hold” feature

•Peak Hold meter

The Front Panel

Bypass

Standard Reason Bypass/On/Oﬀswitch.

Signal Indicator

The signal indicator shows signal presence for both audio and CV inputs for quick indication

of proper routing. The Audio Signal LED shows level with intensity, getting brighter when the

input gets louder. The CV LED shows bipolar signals with positive values in green, getting

brighter with higher values, and negative values in red, getting brighter with lower values.

When there is a CV cable connected but there is no CV activity, the LED will be a dim yellow.

Note On Indicator

Shows MIDI/CV activity.

Patch Browser

Standard Reason patch browser.

Routing Mode

Selects the main routing options, from true Stereo routing to Mid/Side EQ modes.

Stereo: Default EQ mode, both left and right channels share the same EQ curve.

Mid EQ: EQ aﬀects the ‘mid’ signal leaving the side unaﬀected.

Side EQ: EQ aﬀects the ‘side’ signal leaving the mid unaﬀected.

Mid Only: EQ aﬀects the ‘mid’ signal and the side is muted. Use when creating a full M/S EQ in

a Combinator with two ColoringEQs.

Side Only: EQ aﬀects the ‘side’signal and the mid is muted. Use when creating a full M/S EQ in

a Combinator with two ColoringEQs.

Saturation works in all modes, following the EQ allowing you to saturate and/or EQ just the

sides or just the mid signal. Bear in mind that signicant changes to either the mid or side

signal may produce unexpected results due to the way M/S audio works.

Spectrum Display

On: Turns the Spectrum Display on.

Fast: Increases the response time (and reduces resolution) of the display with the advantage

of a slight increase of CPU consumption.

Hold: Freezes the display to “collect” the overall frequency content of a signal over time.

Sequencer Control

These controls collectively allow you to “play” the ColoringEQ, either from CV signals or from a

note track (MIDI).

Note: Activates the MIDI and CV input of Tune control. For accurate pitch results using Note

Control (A3/69 = 440Hz), set the Band Tune control to a setting of E3/64. Adjustments above/

below that value eﬀectively transpose the pitch.

Gate: Activates the MIDI and CV gate input for control of the EQ Gain (and Filter Slope) of the

selected bands. The Attack/Release times on the back panel aﬀect this as well as the Velocity

Depth, which controls the Gain depth via Velocity. Note that when you activate this feature

you will NOT hear any EQ on the selected bands until a note is “on”, and that the maximum

boost/cut available is set by the Gain knob. This means when the Velocity depth is 100%, a

velocity of 127 will set the Gain to it’s current position, and smaller values will scale it down

from this (works for both boost and cut). With a Velocity Depth of 0%, all note on commands

received will set Gain to the value indicated on the front panel regardless of received velocity.

Destination: Selects the Filter/EQ bands aﬀected by the Note/Gate input. The choices are as

follows:

All: all bands equally aﬀected by the Note/Gate input signals

Filters: only the two Filter bands are aﬀected.

EQs: only the ve EQ bands are aﬀected.

F1, F2, EQ1, EQ2, EQ3, EQ4, EQ5: individual band choices for control of a single band.

Input/Output Levels

Both controls cover a range from - 36 dB to +12 dB, allowing ne tuning of the input and

output levels for ColoringEQ.

Input Level: Controls the level coming into the ColoringEQ, which can aﬀect the amount of

saturation (when saturation is in use).

Output Level: Controls the nal output level leaving ColoringEQ, allowing you to

compensate for boost/cuts in the EQ curve by using the Peak Hold meter as a level reference.

It is recommended to match the input vs output levels for comparison (A/B) purposes as well

as to maintain consistent levels throughout the entire signal path.

Peak Hold Display

Peak Hold Reset: Provides a manual reset of the Peak Hold meter when held down.

Peak Hold Auto: When enabled, the Peak Hold meter is automatically reset if after 3 seconds

the measured peak value has not changed. In addition, whenever the fader or pan controls

are moved, the Peak Hold display will reset. This aids in setting precise levels as changes are

quickly displayed without having to wait 3 seconds for the display to automatically reset.

Peak Hold Display: This LED style display shows the decibel level rounded to the nearest dB.

This is not intended as a high resolution mastering meter. The meter displays the measured

decibel level after rounding to the nearest integer. Therefore the true value will lie within ±

0.5 dB of the displayed value. For example, if the meter says the level is - 12 dBFS, the actual

level could be as high as - 11.5 dBFS or as low as 12.5 dBFS.

As an aid to more precise level setting around the clipping point of 0 dBFS, the Peak Hold

Display has two color values for “0 dBFS”; the value is yellow “00” when between -0.5 and less

than 0 dBFS, red “00” when between 0 dBFS and 0.5 dBFS. Additionally, since you know that

the display changes at 0.5 dB between the actual value, you can use the fader to nd the

exact place and then either add or subtract 0.5 dB from the fader position to hit the true

value. This issue won’t come up for most, so I provide this information for those who like to

know the ner “behind the scenes”details.

Harmonics

Determines whether the harmonics generated by the saturation sections are odd order

harmonics, even order harmonics, or a blend of the two. Continuously variable between Odd

and Even.

EQ On

Bypasses the EQ leaving only Saturation, provided the Sat On button is in the ON position.

Useful for adding saturation without adding EQ, giving you an additional way to color your

audio signals. In this mode, saturation is added to the dry signal depending on the EQ

settings, though no EQ will be applied.

Sat On

Master On/Oﬀfor the Saturation section. Turning this oﬀsaves CPU. Allows you to quickly

compare with/without saturation for easy comparisons.

Fine Tune

Allows you to ne tune all EQ/Filter bands by ±50 cents, combined with the individual band

tuning controls gives you a total of 12,000 possible tuning points across the audible spectrum

from 20-20kHz.

The Filter and Equalizer Bands

Filter 1 & 2

Selig ColoringEQ features two identical lter bands, each with ve types and each covering

the entire audible spectrum. Unique features include a continuously variable slope control

(from 0 - 48 dB/Oct), and negative Q to allow more subtle curve shapes.

Filter On: Turns the lters on/oﬀ.

Filter Type: Choose from:

•Low Pass

•High Pass

•Band Pass

•Band Reject (notch)

•Comb (resonant)

Low/High/Band Pass Filters

These are the three classic lter types, with slopes from 0-48 dB/Oct, covering the tuning

range of 20-20 kHz, and a wide ranging Q control.

Band Reject (Notch) Filter

The Slope control on the Notch is diﬀerent than the other lters. It is a “depth” control for the

notch, making this lter more like a narrow“cut-only” EQ band! At the minimum Slope setting

there is no eﬀect, while at the maximum setting the notch is nearly “innite”.

The Tune control acts as with the other Filter types.

The Q control aﬀects the width of the already narrow notch lter. Higher Qs give you an even

more narrow notch.

Comb (Resonate) Filter

The Slope control acts as a dry/wet control for this Filter, which is really more of a delay than a

lter anyway!

The Tune control is as with the other Filter types.

The Q controls resonance, with positive values giving you all harmonics and negative values

given you odd harmonics.

Data Display: Shows Slope/Tune/Q depending on which control is moved. The Tune control

will show MIDI note or Frequency depending on back panel setting, allowing you to tune the

lter based on MIDI note and frequency simultaneously.

Slope: Unique continuously variable slope control from 0 - 48 dB/Oct. Allows you to modulate

slope control and ne tune the lter slopes without having to jump between settings.

“Slope Control” Notes:

The Slope control is a multifunction control, aﬀecting slope on the Low Pass, Band Pass, and

High Pass lters and aﬀecting notch “depth” on the Band Reject lter and “blend” on the Comb

Filter.

For all Filter Types the bottom position represents“no eﬀect”. For slopes, this is a slope of “zero”

(no eﬀect). For the Band Reject and Comb lter the bottom position equals 100% “dry” (no

eﬀect). This is for consistency, especially as it concerns linking the Filters with the EQs in the

Master section, where moving the master Gain control to 0% eﬀectively removes any

processing on ALL bands, lter and EQ alike.!

Tune: Tune the lter in semitones from 20 Hz to 20 kHz, allowing you to quickly dial in the

lter based on pitch rather than frequency. Frequency is also displayed on the Data Display if

selected on the back panel, which is the default (the display can be switched to show MIDI

note).

Q: Features positive and negative resonance amounts. Negative resonance creates even more

gentle slopes around the cutoﬀfrequency.

Routing:

The Routing selector allows the lters to be moved between three positions: “Pre EQ” ,“Post

EQ”, and“Post Saturation”. When in the default “Pre EQ” position, the lter can remove

“garbage” (such as sub sonic energy) to prevent it from being saturated in the EQ bands that

follow. Moving it to the “Post EQ” position prevents it from aﬀecting saturation in any way, but

still aﬀects the main EQ path/signal.“Post Saturation” allows you to lter the saturated signal

before it is summed with the EQ signal. Applications include removing excess high-frequency

by using a low pass lter, or creative eﬀects such as band pass or comb ltering of the

saturation signal.

EQ Bands 1-5

Selig ColoringEQ features ve identical EQ bands, with ten EQ types to choose from each

covering the entire audible spectrum. Beyond the typical EQ types, the Selig ColoringEQ also

includes unique “constant slope” shelves, Tilt/Shift and Smily/Frowny“tone controls”, and

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