I wonder if these 2 pedals (especially EQ2 because of its input impedance and its maximum input level) can be used with some drum machines or some line level instruments.
Minilogue is a synth that really benefits from EQ. It sounds a bit tinny on it's own, but if you take the treble down a notch and the bass up a notch, it has a much nicer tone.
The Boss is great!! I love the fact it has actual sliders!! Hands on!! quick programming without fiddling about!! I own the same two synths in this video and I like hands on stuff :) makes you feel more part of the music if that makes sense :) I feel the EQ really helps enhance the wavestate
Watching JHS pedals youtube channel I learned how to get back the low end in a bass guitar when you plug in through a guitar distortion pedal...and yes,it was with an EQ pedal.
As someone who only produces "in the box" I can't see any of my synths without EQ, it's a really powerful sound shaping tool, not only for cleaning extra frequencies, good demo! :)
I still record my Yamaha DX5. Great instrument, (and it's still in new condition), but it has that inherent 12-bit noise that must be EQ'd out. The Source Audio unit, with it's parametric properties, seems like the perfect piece of gear. Great video Daniel. Thank you.
I recently had to get a stereo EQ for my MODX. I ended going with the Boss EQ-200. After one rehearsal ive realised i might have made the wrong choice. The Boss is great, but not quite as useful because the sliders are fixed (in 3 sets, but all pretty close) and i couldn’t tame the PA with it. With LPF, HPF and complete control over the Q i feel the EQ2 is way ahead in the useful stakes for me. Now selling the Boss and getting the EQ2.
Oh man, I use my Rossum Electro Morpheus module as a modulated EQ. I'll run a buzzy wavetable through one of its comb-like filter presets that is sweeping up & down the frequency spectrum, then overdrive _that_ in the Erica VCF v2 tube/filter. The result is just so delicious and unique! Or, using it pre-FX to give the sound a nice sparkle!
I've been looking for a similar solution to my dj setup, with the effects send out to a delay/reverb pedal. It's not to my taste sending the channel with 3 band eq out to the effects. I want to quickly isolate say a hi hat and not the whole track and I don't want to use a rack mount eq with flimsy, short throw faders. When I saw the Boss EQ-200 I thought THAT'S IT. After watching this video it really makes sense. Does anyone out there feel that the faders are smooth and decent enough to thrash around a little? I like the small caps on them making them wider. And I'm getting into your videos. Very relevant, useful, and to the point. And musical. Too many videos out there of experimental fiddling.
The benefits of the SA eq2 would be great for recording. I imagine that’s why Source Audio made it the way they did. The quick changes would be nice in producing electronic music.
I have similar experiences using EQ on synths. Using an EQ pedal, I was able to make my original Korg Minilogue sound really, really close to expensive analogue monosynths, such as the Moog Grandmother and others. I compared filters sweeps and emulated specific patches. It is the most underrated tool and made me lust less for specific synths. I couldn’t agree more with the observations in this video!
Top notch presentation as always! Regarding the EQ2, are there any dynamic modulation options for the different eq-bands in the editor? The possibility to put an LFO or envelope on bandwith and/or intensity of the bands would send this thing intergalactic. (Firmware update?)
It has parametric options and can definitely do this, which is why it’s currently what I’m saving pennys for. Other parametric EQs are very expensive and this literally does it all (it seems)
I have a question for anyone as an intermediate to advanced synth user: Why do all the main waveforms have either angles or discontinuities? Either that or they are one of a few basic rounded shapes. Sure EQ can round them out or distort them, but it doesn’t seem like that’s the way sound works in the physical world for the most part. Guitars create round waveforms but good luck realistically simulating a guitar string with it’s constant variation. “String” oscillators are just not good enough. A bowed string or wind instrument produces a filtered saw-ish wave but again, synths just don’t cut it. I’m not trying to perfectly reproduce any sounds; actually, I’m trying to create new sounds that sound like they were made by something physical that hasn’t been invented. I’m looking at various real instruments and I first came to additive synthesis, but how much control can a person really have over 256 or more harmonics? So I figured EQ/filters and distortion would do it. But I can’t seem to find any technique that gives me that real-time control that I want. Same goes for physical modeling and wavetable synthesis. It might sound good, but it still sounds like a synth, and when it doesn’t it sounds boring and static. Not realistic unless sample-based, and then it sounds too same-y from session to session. I have a strong hunch that it is about multiple stages and types of EQ and distortion, but that still doesn’t quite cut it for me when the waveforms are totally static. I could get deeper into this but it could be a full book. I’m just out here searching.
Those kinds of waveforms are harmonically richer than anything more rounded. if you know anything about math, think fourier series. a square wave is composed of an infinite series of sinusoid functions of different frequencies, and by filtering out some of those frequencies you can access some really complex waveforms. The more "unnatural" the original waveform, the more hidden sinusoids there are for you to access via filtering. Or at least that's how I understand it
Hi Ytrearneindre. That's the Source Audio Collider, a combination of their Nemesis Delay and Ventris Reverb. I agree, it's a great pedal for keyboards and guitar. Thanks for watching! -_Daniel_
Speaking of EQ do you have any recommendations for a high quality mixer for a studio that I can run drum machines into and synths for recording individual tracks into my DAW. I'm looking at 16-30 channels. Is there a device like a patchbay that allows you to switch between inputs to send to your mixer because I have a few drum machines but using individual outs these can take up 8-12 channels each? I think multi-track USB functionality would be handy but I'm really not sure how reliable the drivers and performance is plus it severely limits your choice. I'm hoping for a clean transparent sound (but not cold and sterile) with some subtle warming/glue to nice gentle saturation if pushed. Any suggestions? Budget wise I don't really mind as long as it's worth the money and not Neve, API, SSL money!
Look into the Presonus Studiolive 32SX (or similar mixer) paired with some NSB16.8 stage boxes. They'll network over AVB, so you can add a few stage boxes as needed to keep everything plugged in all the time. Save some presets on the mixer for different routing setups and even assign the buss faders to the individual instruments to adjust them as a whole (nice and easy). Could be a pretty killer setup! Of course, you'd want to take it a completely different direction if you want to maintain an analog signal flow.
Hi Mauricio. You can spend all day guessing which position is theoretically correct. But, with pedal placement, it's always best to simply try each possibility and pick the one you like. Thanks for watching! -_Daniel_
Way too late on this one Daniel. Added stereo graphic equalizer 3 years ago, and kicked myself and said to myself "why did you wait this long to add analog EQ to your synths?" Stereo EQ on mono or stereo synths is fantastic, add a 31 band stereo EQ for a mono synths and get frequency stereo by alternating boosting left and cutting right in the same band all the way up the scale. Also boosting all frequencies or maybe 20 to 800hz, of an analog EQ you get a minimal warm distortion, something I do on digital synths to warm them up and sound more analog. Things you would NEVER do with EQ as an engineer, are welcomed on synth sound design, and the synth eats them up like candy.
@@marvinkmooneyoz If you have a thin sounding digital synth ( I use the Roland Gaia) adding a cheap graphic equalizer between the synth and mixer can add warmth and higher output levels to your mixer. Also splitting up the frequencies between right/left channels will add some stereo imaging too. My goal in my studio is to have an EQ on each of my digital synths.
Simple yet incredibly powerful, EQ is a must-have! Take your synth patches to the next level with more pro tips by hitting that subscribe button ☝️
Shout out to Derek and Dan @Sweetwater - BEST customer service ever. 🤘
I wonder if these 2 pedals (especially EQ2 because of its input impedance and its maximum input level) can be used with some drum machines or some line level instruments.
Minilogue is a synth that really benefits from EQ. It sounds a bit tinny on it's own, but if you take the treble down a notch and the bass up a notch, it has a much nicer tone.
crazy you say that.. was just thinking the same thing. AND i have minilogue and eq200 lying around
Synth obsessions are hidden behind my collection of guitars. Love how the sound can be edited real time.
Super informative as always. Excellent demonstration, Daniel. Thanks for including the EQ2!
sourceaudioeffects been following you guys since 2013. Keep doing what you’re doing because you guys are awesome at it.
The Boss is great!! I love the fact it has actual sliders!! Hands on!! quick programming without fiddling about!! I own the same two synths in this video and I like hands on stuff :) makes you feel more part of the music if that makes sense :) I feel the EQ really helps enhance the wavestate
Watching JHS pedals youtube channel I learned how to get back the low end in a bass guitar when you plug in through a guitar distortion pedal...and yes,it was with an EQ pedal.
As someone who only produces "in the box" I can't see any of my synths without EQ, it's a really powerful sound shaping tool, not only for cleaning extra frequencies, good demo! :)
I still record my Yamaha DX5. Great instrument, (and it's still in new condition), but it has that inherent 12-bit noise that must be EQ'd out.
The Source Audio unit, with it's parametric properties, seems like the perfect piece of gear. Great video Daniel. Thank you.
I have the boss eq200 and its become the best thing on my pedal board.
I recently had to get a stereo EQ for my MODX. I ended going with the Boss EQ-200. After one rehearsal ive realised i might have made the wrong choice. The Boss is great, but not quite as useful because the sliders are fixed (in 3 sets, but all pretty close) and i couldn’t tame the PA with it. With LPF, HPF and complete control over the Q i feel the EQ2 is way ahead in the useful stakes for me. Now selling the Boss and getting the EQ2.
Thank you Mr. Fisher, your presentations always sound amazing !
Oh man, I use my Rossum Electro Morpheus module as a modulated EQ. I'll run a buzzy wavetable through one of its comb-like filter presets that is sweeping up & down the frequency spectrum, then overdrive _that_ in the Erica VCF v2 tube/filter. The result is just so delicious and unique! Or, using it pre-FX to give the sound a nice sparkle!
I've been looking for a similar solution to my dj setup, with the effects send out to a delay/reverb pedal. It's not to my taste sending the channel with 3 band eq out to the effects. I want to quickly isolate say a hi hat and not the whole track and I don't want to use a rack mount eq with flimsy, short throw faders. When I saw the Boss EQ-200 I thought THAT'S IT. After watching this video it really makes sense. Does anyone out there feel that the faders are smooth and decent enough to thrash around a little? I like the small caps on them making them wider. And I'm getting into your videos. Very relevant, useful, and to the point. And musical. Too many videos out there of experimental fiddling.
The benefits of the SA eq2 would be great for recording. I imagine that’s why Source Audio made it the way they did.
The quick changes would be nice in producing electronic music.
Especially since pretty much everything can be controlled in real time via MIDI CC#s. -_Daniel_
Awesome video, totally sold on adding some eq to my synths. Thank you.
Daniel you are so awesome. I love your passion for gear!
I have similar experiences using EQ on synths. Using an EQ pedal, I was able to make my original Korg Minilogue sound really, really close to expensive analogue monosynths, such as the Moog Grandmother and others. I compared filters sweeps and emulated specific patches.
It is the most underrated tool and made me lust less for specific synths.
I couldn’t agree more with the observations in this video!
Motorize the Sliders, Add more buttons for dedicated ON/Off, Up/Down, A/B, and I will buy the EQ-500. I already have the EQ-200. :)
Both of these pedals kick ass
Buy a vintage graphic eq and get even more shaping power. Buy two for stereo :)
eq works on synths, guitar, main PA out , vocals....ya i like eq edit: i forgot positioning instruments in the mix
Bass player here... I like setting my EQ as flat as this guy’s flat top. Roll off the uber lows and highs with an HPF/LPF or shelving EQ.
EQ is incredibly important on bass in my experience
love this guy. very intuitive
Top notch presentation as always! Regarding the EQ2, are there any dynamic modulation options for the different eq-bands in the editor? The possibility to put an LFO or envelope on bandwith and/or intensity of the bands would send this thing intergalactic. (Firmware update?)
Hi OrphanFrequency yeah. Pretty much all of the parameters can be moved via MIDI, so it can certainly be done that way. -_Daniel_
It has parametric options and can definitely do this, which is why it’s currently what I’m saving pennys for. Other parametric EQs are very expensive and this literally does it all (it seems)
That Source Audio looks infinitely useless as a live tool, set and forget with presets fine but otherwise useless. The Boss is just badass.
Not if you learn how to use it lol...
It would be cool to have both, the Source for set and forget, and the Boss for real time manipulation.
I have a question for anyone as an intermediate to advanced synth user: Why do all the main waveforms have either angles or discontinuities? Either that or they are one of a few basic rounded shapes. Sure EQ can round them out or distort them, but it doesn’t seem like that’s the way sound works in the physical world for the most part. Guitars create round waveforms but good luck realistically simulating a guitar string with it’s constant variation. “String” oscillators are just not good enough. A bowed string or wind instrument produces a filtered saw-ish wave but again, synths just don’t cut it. I’m not trying to perfectly reproduce any sounds; actually, I’m trying to create new sounds that sound like they were made by something physical that hasn’t been invented. I’m looking at various real instruments and I first came to additive synthesis, but how much control can a person really have over 256 or more harmonics? So I figured EQ/filters and distortion would do it. But I can’t seem to find any technique that gives me that real-time control that I want. Same goes for physical modeling and wavetable synthesis. It might sound good, but it still sounds like a synth, and when it doesn’t it sounds boring and static. Not realistic unless sample-based, and then it sounds too same-y from session to session. I have a strong hunch that it is about multiple stages and types of EQ and distortion, but that still doesn’t quite cut it for me when the waveforms are totally static. I could get deeper into this but it could be a full book. I’m just out here searching.
Those kinds of waveforms are harmonically richer than anything more rounded. if you know anything about math, think fourier series. a square wave is composed of an infinite series of sinusoid functions of different frequencies, and by filtering out some of those frequencies you can access some really complex waveforms. The more "unnatural" the original waveform, the more hidden sinusoids there are for you to access via filtering. Or at least that's how I understand it
What is that third pedal, the reverb/delay? sounds great
Hi Ytrearneindre. That's the Source Audio Collider, a combination of their Nemesis Delay and Ventris Reverb. I agree, it's a great pedal for keyboards and guitar. Thanks for watching! -_Daniel_
Sweet vid
Sick!!
Stereo or stacked, Behold the power of spectrum control!
May be smaller but having io on the sides looses it that advantage
This is why I’m finally going to buy a mixer lol
MomoTheBellyDancer true true.
yes, but you need an expression pedal;)
Speaking of EQ do you have any recommendations for a high quality mixer for a studio that I can run drum machines into and synths for recording individual tracks into my DAW. I'm looking at 16-30 channels. Is there a device like a patchbay that allows you to switch between inputs to send to your mixer because I have a few drum machines but using individual outs these can take up 8-12 channels each? I think multi-track USB functionality would be handy but I'm really not sure how reliable the drivers and performance is plus it severely limits your choice. I'm hoping for a clean transparent sound (but not cold and sterile) with some subtle warming/glue to nice gentle saturation if pushed. Any suggestions? Budget wise I don't really mind as long as it's worth the money and not Neve, API, SSL money!
soundcraft signiture 22 mtx. 24 in / 22 out usb....ghost preamps, sapphyre eq, dbx limiters, dual engine lexicon effects....around 799 us.
Look into the Presonus Studiolive 32SX (or similar mixer) paired with some NSB16.8 stage boxes. They'll network over AVB, so you can add a few stage boxes as needed to keep everything plugged in all the time. Save some presets on the mixer for different routing setups and even assign the buss faders to the individual instruments to adjust them as a whole (nice and easy). Could be a pretty killer setup! Of course, you'd want to take it a completely different direction if you want to maintain an analog signal flow.
Last or first in the chain ?
Hi Mauricio. You can spend all day guessing which position is theoretically correct. But, with pedal placement, it's always best to simply try each possibility and pick the one you like. Thanks for watching! -_Daniel_
Love this guy!-Watching & learning from his reviews for years. Now Daniel has me looking and considering EQs'......oy vey
Yeah-he is great. Nice review
Way too late on this one Daniel. Added stereo graphic equalizer 3 years ago, and kicked myself and said to myself "why did you wait this long to add analog EQ to your synths?" Stereo EQ on mono or stereo synths is fantastic, add a 31 band stereo EQ for a mono synths and get frequency stereo by alternating boosting left and cutting right in the same band all the way up the scale. Also boosting all frequencies or maybe 20 to 800hz, of an analog EQ you get a minimal warm distortion, something I do on digital synths to warm them up and sound more analog. Things you would NEVER do with EQ as an engineer, are welcomed on synth sound design, and the synth eats them up like candy.
Recommend an analog graphic eq?
@@marvinkmooneyoz If you have a thin sounding digital synth ( I use the Roland Gaia) adding a cheap graphic equalizer between the synth and mixer can add warmth and higher output levels to your mixer. Also splitting up the frequencies between right/left channels will add some stereo imaging too. My goal in my studio is to have an EQ on each of my digital synths.
👍👍🏻👍🏼👍🏽👍🏾👍🏿
Hard to beat the Boss as it’s much quicker.
The Boss seems more fun, but which one sounds better?
I'm torn on which one to go with I've been pondering it for months I just need to make a decision a stick with it there both probably incredible
@@jonathanfrieze8497 Same, but I think the EQ2 is the better item for it’s size
The source is smaller but the boss has top jacks, wich makes it narrower than it looks