Konu: Audio Assault HQ-2 v1.0

Audio Assault HQ-2 v1.0 WiN OSX | 21 Mb
HQ-2 Hybrid Equalizer is actually a 10 band multi band compressor, designed with the intuitive workflow of a graphic equalizer. The HQ-2 is built around 10 bands of RMS compression, which is useful for compressing the average level of a signal rather than the peak level.

HQ-2 Hybrid Equalizer is actually a 10 band multi band compressor, designed with the intuitive workflow of a graphic equalizer. The HQ-2 is built around 10 bands of RMS compression, which is useful for compressing the average level of a signal rather than the peak level. The result is a transparent compression that can bring quiet details up in the mix while achieving consistency in the tone of dynamic source material. This makes the HQ-2 ideally suited for instrument busses and the mixbus, where it can help glue your mix together. However, given the 10 bands of multi band compression and the graphic equalizer workflow, the HQ-2 is also perfect for a wide range of individual sources!
Why RMS?
RMS compression allows transients to pass through largely unaffected, while compressing the average signal level instead of the peak level. This is useful for evening the level of a dynamic source, such as a vocal or a bass guitar, while still retaining a sense of transparency. Since we're not compressing the peak level, the transient shaping effects of traditional compressors are less apparent. The HQ-2 utilizes RMS multi band compression to provide a transparent compression effect that one can use as easily as a graphic equalizer. Simply boost or cut and listen to how it's changing the sound of your sources.
Automatic Gain Compensation:
The HQ-2 features an always on gain compensation algorithm. This ensures the result is always at a constant perceived loudness. For those unfamiliar with automatic gain compensation on eq style plugins, you may find the results a bit unexpected at first. Raising the bass on a standard eq will result in the bass getting louder. In EQ's with automatic gain compensation, raising the bass keeps the bass at a similar perceived loudness while lowering the rest of the signal. You still end up with the same sonic result, with the added benefit of automatically adjusting the output gain to counter the boosts and cuts you made.

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