GtrEQ vs TETSUO

GtrEQ Guitar EQ & Buzz Kill (AUv3) GtrEQ is an audio effect plugin that can run standalone, or in any AU compatible host application such as Logic Pro or GarageBand. Overview GtrEQ is a 5-band EQ / tone-shaping effect made specifically for guitar players, with the 5 bands focused across the frequency spectrum where the guitar typically lives. The peak / resonance of each band is also more gentle compared to general-purpose EQs, so adjacent bands are very "interactive". This makes GtrEQ well suited for overall guitar tone "sculpting", as opposed to the surgical precision needed for targeting specific frequencies. GtrEQ also includes an optional "Buzz Kill" filter to help reduce mains hum noise. This buzzing can be a problem sometimes with single coil pickup guitars. Depending on your situation, GtrEQ might not be able to kill the buzz completely, but it should help reduce it significantly without impacting your original guitar tone too much. Controls Buzz Kill - Sets the target frequency of the mains hum noise filters which will depend on where you are in the world. For example, UK is 50Hz and US is 60Hz. Setting the control to Off will bypass the mains hum filters entirely. Reduction - Sets how much attenuation is applied to the mains hum noise. Ideally, you want to set this control so the noise is no longer noticeable, or is at least at a "manageable" level. Buzz Kill processing has been designed so that the original guitar signal is impacted as little as possible, but you may notice a less "full" guitar tone when the Reduction amount is at maximum. Buzz Kill processing, when enabled, occurs before the EQ section. EQ - Switches the EQ On or Off. This is a "soft switch" so is well suited for automation / MIDI CC control if your host supports it. EQ Bands - Sets a +/-12dB boost or cut for each of the labelled frequency bands. You can think of each band as affecting bass, low mids, high mids, treble and presence, but because of their interactivity, they don't work independently. You might be surprised by the range of tones you can get with just five bands! Out - Applies a final stage gain trim to the output at the very end of the internal signal chain, between -24dB and +12dB. Shameless plug alert... ANALOGyAMP GtrEQ partners really well with ANALOGyAMP, a retro guitar amp simulator. Placing GtrEQ before ANALOGyAMP in the signal chain allows GtrEQ to function as a boost, effectively driving the input stage of ANALOGyAMP harder. ANALOGyAMP has actually been designed to "take pedals well" albeit virtual ones! You could also use the EQ section in GtrEQ to accentuate the mid frequencies more, and roll-off the bass and treble sides in a similar way to a very famous green overdrive pedal when used primarily as a mid boost. And if you use a MIDI controller, you could potentially have four different virtual channels from two controller switch assignments, with no pops or clicks when you flip between them: SW1 - Toggle Channel Gain on ANALOGyAMP (clean / crunch for example) SW2 - Toggle EQ on GtrEQ (bypass / mid boost for example) Alternatively, place GtrEQ after ANALOGyAMP to sculpt your tone further, with an EQ specifically designed for guitar. For more info and support please visit: www.waverley-instruments.com/robjackson

TETSUO is a chaotic percussion machine. No samples, no library. One voice built out of a pitched body with noise dragged through it, a resonant filter that saturates the harder you lean on it, a bitcrusher, and a waveshaper that runs from a bit of weight to total structural failure. The sequencer is sixteen unseen slots and STEPS knob decides how many of them fire, adding and taking away hits one at a time in a fixed order, so you can strip a pattern to the bone and build it back and the same beats come home. The SKIP control works against you on purpose, stealing hits at random while it plays, so it never quite settles. MUTATE modulates the pitch at random, setting fire to voices on every turn. You do not program TETSUO so much as negotiate with it. The strip along the top is how you attempt to hold onto anything. Sixty four steps, four turns of pattern, carved into as many as eight sections. Select a section. Find a sound. Hit RECORD, and that section keeps every knob position. Change it, record the next, then hit PLAY and it walks left to right dropping each snapshot in as it reaches it, looping. Drag the dividers to give a section longer or cut it short. It keeps settings, not audio, so the engine is playing live the entire way through. Sections save with your presets and your session. AUv3 and standalone.