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Playlist of How to Analyze Plugins with Waves Q

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    How to Analyze Plugins with Waves Q-Clone and Q-Capture

    9:39

    Learn to mix hip-hop:
    Learn compression:
    Ear training:
    Mixing articles:

    Learn how to visualize and analyze the frequency curves of various plugins by using the Q-Clone from Waves.

    Software/Plugins:
    - Avid Pro Tools
    - Waves Q-Clone
    - JOEMEEK VC5 Meequalizer
    - Waves H-EQ Hybrid Equalizer
    - Waves PuigTec EQP-1A

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    Top Mixing Engineer Tony Maserati on How to Use Waves Q-Clone

    3:03

    Q-Clone:

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    Mixing Drums with Waves Q-Clone Tutorial

    3:48


    Learn how to get better sounding drums by capturing multiple instances of your favorite hardware EQ, using the Waves Q-Clone plugin with London based hit maker Yoad Nevo. For more info, go to

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    Secrets & Magic of the Pultec EQ

    3:30

    Save an additional 10% off any purchase at Waves Audio using this link:

    PuigTec EQs:

    Note: the music in this video is just background music, the audio is not processed through the plugin, only Q-Clone.

    When activating the plugin we will see that simply passing the signal through the circuit affects the frequency response slightly. As we have seen before, situations like these were common in vintage analog devices and only the best emulation plugins reproduce the hardware with this level of detail. As this change is largely just an increase in volume we can reduce GAIN by -1.3dB to compensate. Now we can see that when activating the plug only the ends are reduced very slightly. If we move LOW FREQ from 100 to 60Hz the small reduction of highs will be virtually corrected but if we continue moving it towards 30 and 20Hz we will see how in fact the high frequencies are going to be increased. Of course none of this makes much difference in an instrument track although it can act significantly on the master bus. In any case you can simply insert the Pultec and put LF at 20Hz to increase the brightness and add the character of the EQ similarly as we do with the bass of the Helios channel (Watch One more thing about the Helios Kramer HLS Channel:

    The following particularity of this device has been described masterfully by Boz Digital Labs in the video Tech Talk: Pultec EQs ( and is limited to the LOW BOOST and LOW ATTEN controls only when they are used in combination. As you can see LOW BOOST is a shelf filter that increases the bass, LOW ATTEN is a similar filter that reduces the bass and LOW FREQ is a switch that affects both LOW BOOST & ATTEN, so far nothing special... But when both LOW BOOST and LOW ATTEN are used in combination, something happens that few could have foreseen. The logical thing is that BOOST would increase the lows and ATTEN counteract that increase but since their curves are not identical the result is a bass shelf boost combined with a mid bell cut.

    Imagine having this shape and control in the 50s!

    The magic of this curve is that, similar to the combination of a HPF with a bass boost as we have seen previously (link), it balances the low frequency increase making the change less drastic and more musical. But the real magic is that LOW FREQ can control the position of the mid cut without practically affecting the low shelf boost. Some modern EQs include this type of curve directly under the command of a single knob such as the Bass Shift of bx_digital, in comparison the real Pultec offers 4 positions while bx_ only has 3 (A, B and C).

    Note: not all Pultec emulations do the first part, the Waves one was emulated from a very old and famous unit that has been well maintained preserving the original circuit, modern clones and other plugins might not behave the same.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Using Waves Q-Clone as a Guitar Speaker Simulator

    1:54

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    Note: This is not convolution, in this case we are merely copying the exact response of the speaker and the mic and other gear involved in the process of capturing the original IR but this doesn't reproduce the ambience of the room where the gear was captured as tipical convolution would. The option to supply this would be to insert a room reverb plugin after Q-Clone and dial in a natural small room. Finally, there's no much of a practical reason for doing this but it's a fun experiment...


    Q-Clone:

    We are going to insert Lancaster Pulse in the auxiliary of Q-Capture exactly as we do when we want to analyze any other plugin. The default Pulse #IR is a high quality #guitar #cab, as soon as it is inserted Q-Clone shows the characteristic curve of this IR. Now all we have to do is save the curve as a preset in Q-Clone.

    Now we are going insert a guitar amp in a mono track followed by Pulse and Q-Clone loaded with the preset that we just created. Now we are going to bypass the built-in cab and recreate a tone that is not too far from the DI tone for the sake of our experiment. Next we will insert Pulse and then Q-Clone with the preset that we just created to be able to compare.

    We're also going to have to turn up the volume in both plugins +12dB plugins to keep things close to unity.

    Direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    How we use Q-Clone & Q-Capture step by step

    1:54

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    Waves Q-Clone direct link:

    We start every session with a #template
    (Watch Our Template, what is it? | Part 1: Drums, Bass & Extras:
    and Our Template, what is it? | Part 2: Guitars:
    with practically all the tools use like sends, instruments, groups, guitars, bass chains, master, print and monitor tracks with meters...

    In this template is also included Q-Clone, we just have to activate it and route it. Our purpose with this is to #analyze if necessary any process that we are exploring in the middle of the mix (Watch Pultec EQ & Vintage Ampex Tape: a very exciting combination where we show out Q-Clone workflow in action:

    Let's see how we got here...

    1- First create two mono auxiliary tracks.

    2- On the first insert Q-Capture.

    3- Then assign the same mono channel to the input and output of the first auxiliary track.

    4- Now insert Q-Clone into the second auxiliary track and activate CAPTURE. (We usually start with a 16dB scale because it has more resolution and allows you to see minimal changes).

    Now anything you insert into the Q-Capture auxiliary will be reflected in #QClone. But now, if you have any other track in your session in SOLO (we said MUTE in the video, that was a mistake), Q-Clone will stop working and will put a sign that says No Transmission. The solution is as simple as putting the auxiliary where Q-Capture is inserted in Solo Safe mode (Watch SOLO SAFE in Pro Tools (Windows and Mac): Now you can work with the assurance that Q-Clone will be available at all times for your experiments.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Overview of Waves API 560 EQ Plugin

    3:50

    // An overview of the API 560 plugin from Waves Audio.



    Transcript:

    [mix]

    Hello. My name is Eric Tarr.

    In this video, I'll provide an overview to the Waves API 560 equalizer plug-in.

    First, I'll demonstrate the spectral processing characteristics, and then let you hear it in action. This plug-in is modeled after the API 560 hardware equalizer. It is a 10-band graphic EQ, which means there are ten separate peaking or bell shaped filters with fixed frequency, but variable amplitude.

    The frequencies of the 560 are spaced out in octave increments, which means from one band to the next, the frequency is either doubled or halved.

    Let me demonstrate the plug-in now by making use of the Waves Q-Clone to visualize the spectral curve.

    Here, you can see as I increase the amplitude of the 1kHz band, the bell shaped curve shows up in Q-clone.

    This is also true for any of the other bands as well.

    One interesting thing to know about the API 560 is that each bell shaped curve has proportional Q or bandwidth. This means that the bandwidth is wide when there's a small change in amplitude, and the bandwidth is narrow when there's a large change in amplitude.

    Here, you can see that when I change the amplitude by a small amount, the 3dB down point is wider than when I change the amplitude by a large amount.

    Here, the 3dB down point is much narrower. This allows for a wide range of flexibility with the plug-in, as the 560 is capable of various smooth shaping, as well as very dramatic equalization.

    The interaction between adjacent bands also opens up a wide range of creative possibilities.

    Let me demonstrate how the plug-in sounds using a lead vocal.

    [mix]

    Here, I'll make use of some of the included presets with the plug-in.

    [mix]

    Notice that the plug-in adds a fullness to the low end and a clarity to the upper mids without ever sounding harsh.

    The last controls to show you on the plug-in are the output gain control, the polarity invert switch, and the ability to turn on and off the analog modeling.

    I'll play it out now and let you hear the plugin work its magic.

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    Passing random plugins through Q-Clone simply because we can

    4:07

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    Note: the background music is just that, background music. The on-screen plugins do not affect the sound at all.

    In this video we will observe how the frequency response is affected when passing the signal by devices that have not been designed specifically for this. Our purpose is to satisfy the curiosity more than to look for scientific results but as in every #experiment there is always the possibility of finding something practical... or not...

    SPIKE simulates a #SSL desk, today we are only going to analyze one of the 32 channels but as we saw previously (Watch Waves NLS: listen to the differences between the 96 channels: each channel can be different. MIKE simulates the EMI desk where The Dark Side of the Moon was mixed. This is the most colored emulation of the 3. NEVO simulates a #NEVE desk that apparently is almost as flat as the SSL but let's see what happens when we increase the signal. As in any analog circuit, when we bring the signal close to the analog 0, the simulations begin to show their true colors.

    Honestly we are not sure that we are looking here but apparently analog comps affect the frequencies differently, possibly this is part of what we call character. The resulting curve varies with the amount of compression.

    plugins used:
    Q-Clone:
    NLS Non-Linear Summer:
    CLA-2A Compressor / Limiter:
    CLA-76 Compressor / Limiter:
    CLA-3A Compressor / Limiter:
    CLA MixHub:
    Abbey Road TG Mastering Chain:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Waves Plugins Review: S360 Panner Quick Tutorial

    48

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    Saturation Plugins Analyzing Mixing Effects

    9:58

    // An analysis of saturation effects. This video specifically covers Softube Saturation and Sonnox Oxford Inflator.

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    Using the W43

    5:28

    I use the W43 on my snare track to prove that surrounding frequency reduction is a much better route than noise gating. As you can hear, when I use the noise gate, although the entire harmonics of the snare remain, in the entirety of my drum sound it comes across as too rigid and plastic sounding. Instead I opt for the W43 noise reduction tool meant for ambient noise of an overdub track on my snare to achieve a much more natural tone, resulting in a more even tone throughout my mix. I'll never switch back to single noise gating again.

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    Q-clone and ssl

    1:03

    Using waves Q-clone with ssl eq

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    How To Use Waves Q Series EQs

    7:27

    For more tutorials videos please hit subscribe.

    BWA: Music production Tutorials

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    How to Mix with Just One Plugin – Waves Renaissance Channel

    10:01

    Learn how to use Renaissance Channel, an all-inclusive channel strip plugin, to handle all your EQ and dynamics. For more info visit

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    Waves Plugin Q-Clone & Q-Capture Tutorial by MixingArt Korea

    8:01

    This video is about Q-Clone & Q-Capture Tutorial

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    Brief introduction to Waves PS22 Stereo Maker

    2:40

    Watch the continuation of this video The process of Waves PS22 explained in detail to learn what X FEED and DELAY do:

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    Waves PS22 Stereo Maker is a unique tool in the world of plugins since it is based on a process patented by the inventor Michael Gerzon after years of research on the process called Pseudo Stereo.

    PS22 is a group of plugins where each of them is dedicated to doing a specific task in certain types of tracks such as transforming mono tracks into stereo with SPLIT; control the image of stereo tracks such as syntetizers and mixes with SPREAD or the combination of these processes with cross feed delay and additional processes with X SPLIT.

    The most important virtue of the PS22 process is its ability to control, expand, reduce and divide the stereo image with minimal phase coloration and without interfering with the tone of the original sound.

    In this video we will try to explain the differences between the three main modules at the same time that we let you listen to them and we give general ideas about their use.

    Direct link:

    From the website:

    Ideal for revitalizing old recordings as well as sound effects, guitar leads, and more, the PS22 is unsurpassed for mono-to-stereo emulation, enhancing individual tracks, and rebalancing the spatial imaging of stereo mixes.

    Psycho-acoustic spatial enhancement and phase-compensation.
    Retains mono compatibility.
    Preserves original frequency response.
    Left/right or MS meter monitoring.

    Link:

    Enjoy!


    Bandcamp:

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    Brainworx bx_refinement Analyzing Mixing Plugins

    9:40

    The first video in a new series on analyzing effects. This one covers the Brainworx bx_refinement harshness control plugin.

    Overview of bx_refinement from Brainworx:

    The Harshness Control allows you to eliminate unpleasant high frequencies from complex signals and mixes. bx_refinement’s intuitive controls let you adjust various aspects of the sound with ease. Based on M/S (Mid/Side) processing, it imparts a tube-like analog smoothness and is a boon for mix engineers looking to tame unpleasant digital harshness on individual tracks.

    *Add Tube-like Tone*

    bx_refinement is not an emulation of a certain tube sound. Instead, it combines several characteristics found in ultra-musical tube-based equipment to give you an effective tool that is easy to operate. As you tweak the bx_refinement controls, the tube graphic gives you precise visual feedback showing you how intensely the process is being applied. Simply look at the tube’s glow and you’ll see how much, how fast, and how dynamic the plugin is affecting the signal.

    *Easily Target Problem Areas*

    With powerful, simple controls, bx_refinement allows you to quickly identify and discard offending frequencies. The core of bx_refinement is its Damping Control, which features a dynamic peak band EQ to reduce harsh frequencies. The Solo Filter button lets you listen to only the frequencies you’re removing, while the Soft/Hard function sets the character of the processing.

    *Dynamic Flexibility*

    Implement the oscillation option to create nice warming effects. You can adjust the speed of the oscillator with the duration knob, and even sync it to your DAW’s tempo to emphasize rhythmic aspects of your mix or master. The bx_refinement is a processor that will truly stand alone in your sonic toolkit.


    FEATURES

    - Reduces harshness and breathes life into recordings

    - Dynamic or modulation-based damping of unwanted frequencies

    - Soft & hard damping provide second order filtering and higher order filtering respectively

    - Solo filter allows you to hear just what you’re removing from the recording

    - Subtle saturation and presence controls enhance the material without changing its character

    - Independent processing of Mid and Side channels in M/S recordings

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    Wave Capture

    4:55

    Live session from Sunday 26th July 2015
    Deanosouter
    Copyright 2015

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    How to Use: Waves PuigTecEQP1A @MattMontanez

    12:38

    The PuigTec EQP1A plugin is molded after the Pultec EQ. Considered the “Magic” piece of gear in the studio. It rightfully owns that name as it makes pretty much everything sound good or better just by putting sound through it. So we can call the plugin the Magic plugin.

    Waves PuigTec EQs:


    You can check out the track below.


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    Aligning Two Mono Tracks with the InPhase Plugin

    2:07

    In this in-depth tutorial you will learn how to take two mono (bass amp and bass DI) tracks and align them using a sidechain with the Waves InPhase plugin.
    InPhase:

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    Soundtoys Decapitator analyzed in Q-Clone

    1:40

    Decapitator Analog Saturation Modeler direct link:

    Note: the background music in this video is just that, background music.

    Watch Another video about Decapitator? (things you might not know) for a similar test with audio signal passed through the plugin:

    As with any good analog #saturation plugin #Soundtoys #Decapitator simulates the frequency response and hardware character in its initial state, even when DRIVE is at zero. This is useful when you need to add a minimum of color and analog flavor without creating audible distortion. Simply rotate between the STYLES until you find the one that works for you.

    As we have seen previously, LOW CUT is an HPF. THUMP is a boost typical of the analog filters located just at the cutoff frequency.

    HIGH CUT is an LPF. STEEP changes the fall of the cut making it more precise.

    TONE is a tilt EQ, a very effective tone control that achieves very remarkable changes because, while increasing one half of the spectrum, the other decreases and vice versa.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Waves Cobalt Saphira Plugin Tutorial with Audio Demos

    22:50

    In this in-depth tutorial, you will learn about the advanced harmonic shaping capabilities of Cobalt Saphira and how you can use this plugin to add analog warmth and glue your tracks when mixing and mastering. Cobalt Saphira:

    0:16 – Intro to harmonic distortion
    1:59 – Plugin overview
    8:14 – Audio demos

    Cobalt Saphira is designed to give you separate control over the odd and even harmonics of your tracks. By using this and other features, such as the analog tape engine, you can achieve unique and interesting results on mixes, groups and individual tracks.

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    Waves NLS | The 96 channels analyzed in Q-Clone

    2:33

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    NLS Non-Linear Summer product page:

    Also watch Waves NLS: listen to the differences between the 96 channels:

    When activating the #plugin we see a slight change in Q-Clone but if we change the channels we do not see so much difference so for this #experiment we will increase the gain to the maximum and compensate the output to simulate the operation of the plugin in a real #mix situation.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Manny Marroquin on the Waves Manny Marroquin Signature Series Plugins

    3:09

    Mixing Engineer Manny Marroquin (Kanye West, Rihanna, Alicia Keys, John Mayer) discusses the Manny Marroquin Signature Series plugin bundle, custom-made to replicate Manny’s approach to mixing.
    Manny Marroquin Signature Series:

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    Mixing Drums with Waves E-Channel Plugin

    8:47

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    How to use the Waves E-Channel plugin on a multitrack drum recording.

    ---

    This is a demo of how to use the Waves SSL E-Channel strip to mix a multitrack drum recording session. This plugin supports TDM, RTAS, Audio suite, VST and AU plugin formats. It's both PCM and Mac platform compatible and can be used on sessions up to 96 kHz in sampling rate and up to 24-bit depth.

    I'm using the plugin in Pro Tools Native, which is RTAS plugin format. Here you'll see 7 audio tracks of my multitrack drum recording. Kick in, kick out, snare top, snare bottom, stereo overheads, and stereo room. Then a printed stereo audio track of an outboard reverb unit.

    I have these tracks going into an aux bus called clean. I'm gonna be doing parallel compression so I'm running a clean auxiliary bus. Next to my compression aux bus, I have these tracks routed going into compression. And all the tracks,outputs go to clean. Then I have these two auxiliary busses going into my master drum buss. And I'm using this kind of as a master control over these two levels, and I'm gonna blend these two together.

    [dry unprocessed drums]

    Starting with kick drum. In the plugin there are two main components: the EQ and dynamics sections. For EQ, there's a high pass and a low pass filter here that you can control. Then there are 4 bands of EQ, the high shelf and the low shelf can also be switched into a bell. And then the two middle bands: the low mids and the high mids are your typical parametric EQ. You have a Q setting and you have a how much you want to boost or cut in dB, and you have a frequency control.

    Then there's the dynamics section with SSL-style compressor and expander/gate. The compressor has typical controls: ratio, threshold and release. The attack is either fast attack or slow. I have it set here for kick and snare to be slow attack. What that's gonna do is let the transient of the hit through. But then compress the tail, and it's gonna emphasize the transient to make the drums a little bit more punchy. The high pass and low pass filters that are going on over here I have clicked on this split control. What that's going to do is put the filters — based on the internal routing of the plugin — before the dynamics section. So if you click this off, then the filter section takes place after the dynamics section. So what I'm doing just as a matter of preference is rolling off the low end so that's not gonna influence the compressor.

    Next in the expander or the gate control, I have a fast attack to let the transient through quickly, then I'm gonna cut off some of the tail to make the drums more punchy. Again, by emphasizing the transient. I'm trying to do the same kind of thing with the dynamics section, both the compressor and the expander. For EQ I'm boosting a bit in the low end. Cutting around 300 Hz to take out some of the boxiness. Boosting around 2k, that's gonna add some snap to the kick drum, and then a little bit with this high shelf around 5k up until I'm taking out the high frequencies at 10k. So that high shelf adds a bit more of that top end click of the kick drum. So let me go ahead and bypass it and put it back in so you can hear what I'm doing.

    [kick drum mixing]

    Similar with the kick drum out mic. Taking out some of the boxiness and also emphasizing the attack. It's just gonna make the kick drum sit better in the mix.

    [snare drum mixing]

    I have a similar sort of compressor setup: slow attack to compress just the tail of the hit and then using the expander to cut off some of the end of the sustain of the drum hit. Boosting around between 200-300Hz, around the fundamental frequency of the snare drum. Rolling off some of the ringiness around 800. Boosting again the snap around 2k and then the click around 5k.

    Overheads. Using different kind of compression here. Just sort of to smooth things out a little bit. Rather than letting the transient through, just using a low ratio so I'm not doing a whole lot of compression. Not using the expander for the overheads because I don't want to really take out any of the sustain. Similar sort of EQ going on: boosting a little bit of low end. Boosting some high end. A sharp Q filter for my middle frequencies to take out 2 frequencies that I thought had a little too much ringing around 500 and then around 1300 Hz.

    For the room, I'm using a lot of compression here in the dynamics section with an 8 to 1 ratio, medium release. Had these going together into this bus. And I just have the dynamics section here acting as a limiter on the highest ratio and I have the threshold so it just barely hits the compressor. Then for my buss compressor I've got lots of compression with a high ratio, fast attack, fast release, smashing the transients down and blending it with the clean.

    [drums with parallel compression]

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    3. Q Clone을 사용해서 하드웨어 EQ 커브값 카피하기

    12:08

    안녕하세요. Studio F입니다.
    스튜디오가 대격변을 잠시 맞이하면서 오랜만에 영상 올립니다.
    이번 시간에는 Waves의 Q Clone 플러그인을 이용해서 플러그인이나
    하드웨어 EQ의 커브값을 카피하는 하는 방법을 알아보고
    또 그 사용법을 알아보겠습니다.

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    Processing a Brass Section with Waves plugins

    1:15

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    The only separate track that we processed of this #brass section was the #trumpets. The trombones, #horns and synth brass are just as they came and as we will see will only be minimally processed in the group later. Might seem odd to some but sometimes this is all it takes for programmed horns to sound really good and natural. We used Sonivox plugins to play the tracks.

    Even with all the controls at 0 the Pultec EQ will add small boosts (and a little volume too) that add clarity. The effect is even more noticeable when LOW FREQUENCY is located at 20Hz.
    Waves PuigTec EQP-1A:

    The Fairchild is famous for being colorful and influence the spectrum even when it's not compressing the signal, in this case the default preset worked perfectly on our channel.
    Waves PuigChild:

    After the compressor we inserted Kramer Tape in the preset Brass Section and guess what? This preset worked perfectly with our brass section so we didn't change anything!
    Waves Kramer Master Tape:

    Waves Q-Clone (used here to analyze the frequency responses of the plugins mentioned above):

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    What not everyone knows about Waves InPhase

    2:23

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    Waves InPhase:

    InPhase is often the subject of debate because one could easily think: is it not simply easier to zoom in and match waveforms manually? What many people don't realize is that while this is certainly very easy to do and does not require a plugin at all it is only possible when it comes to independent tracks... InTune can do it between the two CHANNELS of a STEREO track which avoids the necessity of having to split it into two separate mono tracks or using a delay.

    As soon as InPhase is inserted in a #stereo track the alpha and beta sections are automatically assigned to the L and R channels respectively. All you have to do is activate CAPTURE while the audio is playing and wait for the waveform to appear on the screens. Then place the marker on a transient that is fairly defined in the waveform and expand it until you can see the cycles. Once the waveform is enlarged, adjust the position of the marker even closer to the transient on the green display above. Now move the DELAY wheel in the beta module until both #waveforms match as much as possible. Now observe the #CORRELATION meter and continue adjusting until the signal touches the green markers on the right side.

    An additional advantage of InPhase is the possibility of altering the phase of certain areas of the spectrum. To understand this watch What is MAAT RSPhaseShifter ( In this case it seems that when both channels are aligned, the highs are diminished while the lows are increased. This means the lows have a more coherent phase relationship than the highs... To make the highs also increase we will manipulate the phase of the high zone of one of the channels until all the areas of the spectrum are equally in phase. The graph is self-explanatory but you can also help yourself by looking at the waveforms in the displays on the right side and then retouch DELAY if necessary..

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Subtractive EQ using the Waves Q in Logic Pro X

    6:36

    In this tutorial I will be explaining how to identify and reduce unwanted frequencies using the Waves Q Series Plugins in Logic Pro X.

    The same technique can be achieved by using any Paragraphic EQ in most other DAW.

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    Waves Puigchild 670 Review - Plug-In Lowdown

    4:36

    The first ever Plug-In Lowdown Review! awwww. Anyway Matt takes a look at the cool sounds of the Waves JJP Puigchild 670 compressor, a digitally modelled version of the Fairchild 670. Stick your headphones on and listen to those drums get more and more powerful as the controls get turned up!


    (the plugin's page)

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    Analyzing the internal sidechain of the LA-2A compressor

    1:28

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    Note: the background music is just that, background music. The on-screen plugins do not affect the sound at all.

    Waves Q-Clone:
    Waves CLA-2A Compressor/Limiter:

    When CLA-2A is in bypass what we see in Q-Clone is a straight line, this is because Q-Capture is sending a signal that has exactly the same level in all areas of the spectrum.

    When CLA-2A is activated and its output gain matched to unity we will see that the curve stops being straight, this is partly due to the color of the modeled circuit and the fact that the #compressor acts more in some areas.

    If we increase the #compression we will see how the difference becomes even more evident... This is when the #sidechain control comes into play. If we move it completely to the left we will see how although not completely straight the curve indicates a more even compression in all the areas of the spectrum... If we move it completely to the right we will see how the compression only acts in the high frequency zone (because it reduces the energy that Q-Clone shows in that area) similar to a dynamic EQ...

    Since this control can concentrate the compression in the highs without affecting the bass it can be used to control sibilance in vocals, to make instruments sound more warm or to get more punch in low and bass instruments.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Paz Analyzer Waves - Como Utilizar o Analisador de Spectrum em Uma Música

    38:44

    Paz Analyzer Waves - Como Utilizar o Analizador de Spectrum em Uma Música.

    Curso Mixagem e Masterização


    Site:

    Neste vídeo eu ensino o passo a passo de como utilizar o analisador de spectrum em uma música.

    O Analisador utilizado neste vídeo é o Paz Analyzer da Waves.

    Participe do grupo Dominando Áudio no WhatsApp. Basta enviar se nome e seu whatsapp para o email abaixo dizendo: Eu quero participar do grupo Dominando Áudio.

    gilmarlima@hemisferioblog.com

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    Compression Plugins Analyzing Mixing Effects

    16:28

    Learn compression:
    Frequency ear training:
    The Pro Audio Files:

    An analysis of different types of compressor plugins including CLA-2A, VC 160, FET and FG-401.

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    Andrew Scheps’ Tips on Using the Scheps 73 EQ Plugin

    7:07

    In this video, producer/engineer Andrew Scheps (Adele, Red Hot Chili Peppers, Hozier) explains how he likes to use his Waves Scheps 73 plugin, modeled on the Neve 1073 console’s EQ and mic preamp module, and gives his tips on using the plugin for mid-side EQing. Learn more:

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    Waves J37 & Kramer Tape | Master bus settings compared in Q-Clone

    47

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    #Kramer #Master Tape:
    #AbbeyRoad J37 Tape:

    This video is not a comparison between these two plugins, this video is a comparison between the settings that we commonly use on the bus of the master (they are not even identical) in order to better understand why it is that sometimes we prefer to use one and other times the other.

    Our settings are: adjust input level until the needle exceeds slightly 0 with output link activated. Reduce FLUX in Kramer and reduce wow and flutter in both.

    We also compare 15ips and 7.5ips.

    OF COURSE there's more than what we can see here that makes these two plugins different, however many times we use analog emulations more for the influence they have on the frequency spectrum than the character itself.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Mix Tutorial: Waves SSL G-Channel Strip Plugin

    8:53

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    An overview of the Waves G-Channel Strip Plugin.

    ---

    Transcript:

    Using Waves SSL G-Channel Strip & G Master Buss Compressor to mix a multitrack drum recording.

    These plugins as part of the Waves SSL 4000 Bundle. They're PCM Mac platform compatible. They support TDM, RTAS, Audiosuite, VST, and AU plugin formats. There is mono and stereo versions of the plugin. You can use these on sessions up to 96 kHz and up to a 24-bit depth.

    I have 7 tracks of recorded audio from microphones: I have a kick in mic, kick out, snare top, snare bottom, stereo pair of overheads, stereo pair of rooms. And then I have an audio track here — a stereo track of printed reverb from an outboard reverb unit.

    I'm gonna be doing parallel compression on my drum mix. So I have a clean aux here that the outputs of these audio tracks are going into. Almost no compression, but then on my other aux channel I have a lot of compression. They'll be parallel. These are both going into my drum buss auxiliary bus. I'm gonna be using the SSL compressor just to add a slight bit of limiting to make sure that I'm not clipping the combined signal.

    Without any processing the drums sound pretty good, but they're gonna be a bit of work if they're gonna sit in a mix.

    With the SSL G-Channel, there's an EQ section and a dynamics section. You can change the internal routing so you can put the EQ before the dynamics or the dynamics before the EQ. The way I've got it set up is I've got these filters first as the first thing that happens when the audio enters the plugin. There's a high pass filter and low pass filter. What I'm doing is just rolling off a little bit of the low end to tighten up in case there's some low rumble.

    In the dynamics section, there's an SSL style compressor, SSL style gate or expander. Basic controls you have for the compressor: ratio, threshold, release. Then you can switch between fast attack and release. For my kick I just have, you know, 3 to 4 dB of gain reduction. Medium release time, I'm gonna be setting the threshold for a couple of dB of gain reduction. I have a slow attack because I want the transients of the signal to pass without being compressed and then the tail of the signal to be compressed a lot. What's that's gonna do is emphasize the transient, make the drums a more punchy.

    For my expander, I have a range to control how much expansion is going on. You have a release to control after the signal drops below the threshold, when it's going to stop gain reduction. I'm using a fast attack because so as soon as the drum hit goes above the threshold, the signal passes through the gate/expander, and I'm setting the threshold so it really tightens up my drum hit, really emphasizes the attack or the transient of the hit to make it more punchy.

    Then for EQ, there's a low shelf and high shelf. There's two bell shaped portions of the EQ for a low-mid and high-mid. You can select the frequency — how much you're gonna boost of cut. Then the Q of the bell. So let me play you back the kick drum and you can hear what I'm doing.

    [kick]

    Sounds a little boxy. Sounds tight now because I'm using the dynamics section to really emphasize the attack, boosting a little bit of the low end, cutting out around 3K where is sounds boxy. Boosting around 2K to give it that snap. Boosting about 5K for click and high end air.

    Similar with the kick out mic and snare. Taking out some of that ring in the close mics, but then the overheads I'm still gonna keep a lot of that ring. Boosting around 200 to 300 Hz because that's where the fundamental frequency of the snare drum is. Much less compression on overheads, a lower ratio going on, rolling off a lot of the low end, and I found some frequencies that I didn't like with a sharp Q around 800 and 1000-1500. Adding a bit of top end to sharpen up the sound. I squashed the room mics so I've got a fast release and a high ratio to get a lot of gain reduction. I'm not using the expander, roll off again the low end like the overheads. Found some frequencies I didn't really like.. And added some top end. With the reverb I don't have any processing. I basically have EQ set flat and no dynamics.

    Next let's get to the buss compressor. The buss compressor has some similar sort of controls for the compression: threshold, make up gain, attack and release. You can select your ratio here.

    For the clean portion, I have the compressor set up with no gain reduction: slow attack, fast release. For compression I've got a high amount of gain reduction. I'm using some make up gain, pretty fast attack, pretty fast release. 4:1 ratio.

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    ROBERT RYDA TUTORIAL: Использование плагина WAVES Q-CLONE

    6:50

    • В этом видеоуроке я покажу как пользоваться плагином Waves Q-Clone для дополнительной визуализации плагинов или внешнего, подключенного в разрыв студийного оборудования. Если использовать плагин по назначению, тогда можно создавать копии этих импульсов. Очень помогает при настройке или выборе пресетов в аналоговых плагинах.

    • На протяжении последних 10+ лет я в основном использовал Apple Logic Pro для записи/сведения и мастеринга. Переход на Avid Pro Tools 12 оказался непростым. Поняв где находить нужные функции процесс перестал быть ужасным и непонятным и все встало на свои места. Pro Tools представляет ряд уникальных возможностей, а также ряд отличий в интерфейсе и терминологии.

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    Mix Essentials - Mixing with Waves Renaissance Bass - Bass Enhancement Plugin

    11:56

    Mixing tutorials :

    Learn how to use the Renaissance Bass by Waves to improve the perceived levels of the low end of your mixes. Great for when you're out of a sub key and the bass is losing energy on a note or two.

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    WAVES Q Clone แบบบ้านบ้าน

    6:34

    ขอบคุณที่ติดตามชมครับ

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    Waves Abbey Road RS56 Passive EQ plugin EXPLAINED

    4:26

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    RS56 Passive EQ:

    Watch Stereo Image Control with Waves Scheps73 (3 examples):

    At first glance #Waves RS56 seems very complicated because it has a lot of buttons but if we look at the mono version we will see that it is actually a simple three-band #EQ. As we can see, it only has three bands and each band has three buttons: GAIN, Q and FREQ. The screen shows exactly what these bands do, exactly as Q-Clone would do. The GAIN and Q buttons of the three bands are the same, the only thing that is different is the FREQUENCY selector. For example GAIN can cut or boots up to 20dB. The hardware only reaches up to 10 dB so to stay strictly within the limits of #hardware simply select the 15dB scale on the display and make sure that the curve doesn't leave the screen. It is important to keep in mind that with this amount of available range both the knob and the display can be deceptive which makes that in this EQ a touch goes a long way.

    (the video goes on with the stereo version, etc...)

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

  • desc

    WAVES Q Clone vs API 5500, EQ cloning & Sound Comparison

    3:57

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    the Waves Q Clone is a hardware Eq cloning system: it captures the eq curve of a mono or dual equalizer, perfectly replicating the sound of the filters and their phase response eliminating distortions, noises or other non-linear properties.
    This process can be repeated endlessly on different audio tracks, cloning different Eq settings from the same hardware for each track.
    This week's video will guide you in the setup of the Waves Q Clone for the cloning of a hardware equalizer widely used in recording studios: API 5500.
    You will also have the opportunity to compare the differences between the original API 5500 and its clone.

    il Waves Q Clone è un sistema di clonazione di Eq hardware: cattura la curva eq di un equalizzatore mono o dual , replica perfettamente il suono dei filtri e della loro risposta di fase eliminando distorsioni, rumori o altre proprietà non lineari.
    Questo processo può essere ripetuto infinite volte su diverse tracce audio, clonando diversi settaggi dell’Eq dallo stesso hardware per ciascuna traccia.
    Il video di questa settimana vi guiderà nel setup del Waves Q Clone per la clonazione di un equalizzatore hardware molto utilizzato negli studi di registrazione: API 5500.
    Avrete anche la possibilità di confrontare le differenze tra l’originale API 5500 e il suo clone.

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    Waves F6 Dynamic EQ Plugin Overview

    6:21

    Watch mix engineer Brad Divens (Kanye West, Enrique Iglesias) demonstrate sidechaining, mid-side processing & more with the F6 Floating-Band Dynamic EQ plugin. Learn more:

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    Dangerous BAX EQ CURVES

    3:54

    Looking at the EQ curves of the Dangerous BAX plugin from Plugin Alliance using waves Q Clone.

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    Mixing Electric Guitar with Waves H-Delay Plugin

    8:23

    Learn compression:
    Learn to mix hip-hop:
    Improve your ears:
    Mixing tips:

    How to use the Waves H-Delay plugin on electric guitar.

    ---
    About H-Delay:

    From real old school PCM42-style effects like filtering, flanging, and phasing, to slap-back echo, ping-pong delay, and tempo-sync with modulation, H-Delay delivers the goods, controlled by a super intuitive interface that lets you get right down to business.

    Tape Delay Effect -- Certain vintage tape delays offered an option to change the delay time by changing the tape's motor speed. This produced a pitch change, as the already recorded part was now played at a different speed. The pitch returns to normal when the recorded piece in the new speed reached the playback head. We have emulated this behavior in the Delay time control.

    Delay Modulation -- Using a Low Frequency Oscillator (LFO) and triangle waveform to control the delay time, Delay Modulation produces effects ranging from flanging and chorus to frequency modulation. Oscillation time can be set using either an Hz value or a BPM multiple, a note value, e.g. 1/4 note, 1/8 note, 1/16 note, etc.

    Ping Pong Delay -- A stereo effect that sounds like the input signal is bouncing between the left and right output channels, Ping Pong Delay is achieved by using two delay lines that feed one another, rather than feeding themselves as in normal stereo delay mode. This effect requires a Feedback value greater than 1.

    LoFi -- In early digital delay devices, the sample rate was often reduced to allow greater delay values using the same memory chip, causing reduced frequency range. In LoFi mode, H-Delay emulates this behavior, while the delay time range remains the same.

    Analog -- Choose between 4 Analog Modes which correspond to sound qualities which are usually associated with and perceived as analog sound.

    MIDI Control -- H-Delay includes a MIDI node which opens upon instantiation of the plug-in. To enable MIDI control of H-Delay, assign a MIDI track to the node. All H-Delay controls (excluding Output Meter) support standard MIDI Learn procedures. (Apple Logic and Ableton Live each have their own MIDI functionality which is supported by H-Delay.)

    ---

    Transcript excerpt:

    This is a demonstration of a Waves H-Delay plugin.

    I'm gonna be showing you the features, controls and sound of this plugin on an electric lead guitar track. The Waves Hybrid line of effects were designed to give you a classic analog sound but with a lot of the convenience, features, and controls that you normally only associate with digital effects. With the H-Delay plugin, Waves has modeled some of the classic delay sounds including Tape Delay and Lo-Fi Delay. But then gives you a lot of the controls like syncing the tempo of your delays to the host. That's, you know, typical of digital delays.

    [electric guitars + delay]

    Basically what the lo-fi button does — on old analog delays when they were first being implemented on chip, because the capacity of the chip to store information over time was limited, one thing that the processing would do is decrease the sampling rate of the delays because it meant the information that was stored on chip was reduced. So with the lo-fi delay, it kind of reduces the sampling rate going on of the delays. Then you have modulation. This is kind of characteristic of what people think of the memory man delay sound, where you have modulation and you can control the rate as well and change this. Let me play it back and you can hear it.

    [electric guitars + modulated delay]

    Hopefully by overemphasizing it you get a better idea of how it sounds. With this kind of effect on electric guitar, it might be something you want to mix ins subtly. In other cases you might want to turn it on and boost it up a lot. But I'm gonna, again, just turn it off for now. Get on to the filters.

    So, with analog delay a lot of times what will happen as the signal is fed back through the unit, a lot of times, you know, tape or other kinds of analog delay the high frequencies would kind of — you'd roll off over time. You have a low pass filter that kind of does that. Then you can also use a high pass filter to kind of focus where the frequency range of the delays are going. So already, I've gone ahead and rolled off some of the high end around 2k. What I'll do is again crank up the feedback and stop the electric guitar sound so you can hear how it sounds separately.

    [electric guitars + filtered delay]

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    LA-2A Plug-in: Harmonic Analysis

    8:28

    We take a quick look at the harmonic structure of Universal Audio's LA-2A plugins.

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    New York Compression: add a loudness EQ to a parallel compressor

    1:29

    In our previous video ( we saw how to use Waves MV2 in #parallel with the #drums group. Today we will see how to take this process even further by adding a bit of a #loudness curve after.

    After the compressor we will insert Sonimus Sweetone in the LOUD position which will allow us to add low and high end at the same time, this type of curve is known as loudness curve since it increases the volume perceived by the human ear as it has been described with the Fletcher-Munson curves. As a guide let's say that all you have to do is increase the curve until you feel the transients start to sound sharp, then you may have to turn the knob back a little bit.

    This can also be done with a simple equalizer, experienced engineers call it New York Compression, simply use an EQ with a low shelf at 100Hz and a high shelf at 10kHz and increase a few dB on each.

    Plugins used:
    Sonimus Sweetone:
    Waves MV2:
    Waves Q-Clone:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

  • desc

    Introducing Waves Sub Align – A Plugin for Live Sound Engineers

    50

    Watch this overview of Sub Align, an innovative plugin that enables FOH engineers to align the sub and top speakers in unaligned PA systems, even when they have no access to the system processor.

    Sub Align:

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    Male Voice-over Mixing Tutorial | Waves Plugins

    11:05

    Female Voice-over:
    For further info on me and my studio please visit
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    Stereo to Mid-Side Encoding/Decoding using standard plugins - Part 1 of 2

    8:27

    Have you ever wondered how those expensive plugins decode a stereo recording and enable you to process the middle and side components separately? This video will teach you the theory behind it in Part 1. In Part 2, we will cover the method for setting up the M/S Matrix in Pro Tools. Basic Principles are covered during the course of the videos but this is still a reasonably technical approach to processing audio and not necessarily recommended to those who are new to sound production.

    New videos will appear whenever I can make them. Stay tuned by Subscribing and smashing that Like button!

    Web Links:
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    daniel@splmixing.com

    Thank you for your continued support!
    I welcome your questions and ideas for new videos!

    Make a Donation in appreciation. Visit the SPL Mixing main page and help the channel grow by clicking on the “Support this channel” button on the right-hand side.

    Happy Mixing!

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    F6 Dynamic EQ Update – Now with a Real-Time Analyzer

    53

    You asked for it, you got it: The F6 Floating-Band Dynamic EQ plugin has been updated with a feature-rich real-time frequency spectrum analyzer, accessible from the main plugin interface. Learn more:

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