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This is a close as perfect a piece of gear gets. I would have never imagine we'd see analog do these things! Thank you Dave, the best with the best 👌👌👌👌
I saw the very first video of the Dione you made years ago, nobody knew Wes Audio before that and now look at this! Incredible where both you and these guys achieved
Well damn. Unbelievable video on this incredible EQ from WesAudio. And we see the JOY you take from a new and truly great piece of gear. Cheers man! Benjamin
Adjusting parameters with knobs and switches is all good fun but man i love the idea of being able to just shove this out of sight somewhere and just treat it like the best sounding plugin ever made.
Sounds fantastic ... You can make it sound "cold" or "hot" with a lot of mojo ... Vocal example is for me the ultimat test and boy it passes big time, haha. The M/S option is also great ...
I don't even get why people try to compare this with the MP, lol this thing is out of a sci-fi movie! The MP looks like a dinosaur next to this. Incredible video Dave!
@@Rareos You mean it distorts and soften the low end too much? If that's what you mean by vibe then yes. Take a look at the design of this and you will understand how, even if you believe the earth is flat, the BM cannot and never will sound like this, not even close.
@@mbpublishing9195 distorts? lol and why be so condescending? what is special about the design of this compared to the MP? The MP is a different topology and it shows. I literally took some snippets of the unprocessed audio from this video, ran it through my massive passive, my BM, my api 5500, my Terry ceq, and my maselec mea2 and can confidently say this sounds a lot like my BM.
Dave, by the way I love that Bella song. I believe it is called Goodbye. The chorus is so darn good! I think I told you before but had to tell you again.
Some of his videos convince me to bang it out with the plugin he features. His tutorials really make you want to throw your money at him like he's a transitioning stripper. ROTFLMAO
OMG SO COOL! It sounds really alive and the low end is huge and tight. I know it's also because YOU are using it lol but this one is really impressive. What do you think about the learning curve? Do you actually use all the press functions in day to day use right away?
100% it's very intuitive and I was very familiar with all the functions after not even an hour. The learning curve is more to understand the differences between Prop Q and constant which, we all know on paper but every eq sound different. For example, the SPL in Prop sounds like you're not boosting or cutting at all given the same db, is a totally different approach than this which is more what we expect when using a Prop Q, tighter, more focused. I personally like Prop more for single tracks or groups, constant for mix/mastering. But if you have never used a 4 shelves design, that's probably where you'd take longer to understand how to use it.
You sure it's this? Because it just released and this that you see was literally the first one in the wild. I'm sure it will be in a ton of studios after this video 😄 but it's probably the NgBus they look very much the same
Impressive unit! Is this a major wake up call to all "traditional" analog hardware builders? Of course if the unit is impressive, it's because we all know who's driving it. And Bella's new single is something else! Thank you for turning all of us into would-be bank robbers ;-)
16:00 Very hardware sounding! ERrrrr wow! Super clear...no digital 0's and 1's harshness or anti-betterizer flatness. Takes 10 plugins or 4 Acustica Audio plugins to just to get this sound LoLoL even with RU-vid codec compression, it sounds 24/192 SR-ish.
Great demo! Quite a pricey unit but incredibly flexible. I would love to hear some side by side comparisons with ProQ3 to see if the cost is justified.
It looks SICK! My only concern with digitally controlled analog gear is long term support of the software part. Of course you can still use the box even when the sw part is not supported anymore, but all of the cool automation and mirroring functions would then be gone.
@@mixbustv well, not really, since "regular" plug ins don't have a 6K HW unit attached. I''m not saying that would prevent me from buying one, it's just that, as you say, once you get into the digital realm obsolescence kicks in inevitably, which wasn't really the case with analog gear per se. Now, I acknowledge that on top of sounding killer as an all tube fully analog EQ of that design can sound, the icing on the cake is the digital control and total recall. And I think that that's probably the future for lots of analog gear from now on, it just concerns me that should Wes Design decide to drop support in the future for some reason (which will probably not happen anytime soon) it would chop half the features off of that piece of gear. Just a tought.
Another item added to the list of things I can’t afford. Lol It’s hard trying to invest in yourself constantly with minimal income. And technology changes and advances. Which can change things sonically.
If I may: make it your strength. I didn't have anything when I started, and made work the things I had, keeping in mind where I wanted to be. Use it as fuel and drive. I see a lot of people who can buy anything they want, they don't appreciated it, they also usually blame their tools for their shortcomings. People who grind to get what they have not only appreciated it more but they are usually better at what they do because they had to make do with lesser tools before.
@@mixbustv I appreciate you David for saying this. I needed to hear this. Sometimes we forget where we came from to where we are in the process. So thank you again.
Daaaamn. I had my finger on the trigger to get the SPL PQ, but this is going to force me to take a deeper look at the Wes Audio. It would be nice to be able to actually listen to whatever color each unit imparts on the mix.
The PQ has no color, that's its strength, 120V, everything and anything will run out of headroom before that, zero distortion, EQ moves feel part of the music itself. Tube Eq I'm pretty sure you can hear each and every color in any combination in this video 😄 Besides the digital control and automation and workflow the Wes has, the PQ has no shelves and no filters either, it's 4 bells, this can be any combination.
I'm confused. Why are there just 12 frequency notches for each band? Comparable EQs have 41 notches. The jumps in frequency seem far too large, no? I didn't notice any way to lower the frequency jumps, did I miss that? When David was doing a frequency "sweep" in the VST, it was still jumping around massively. It seems that this EQ does just about everything right... except being able to accurately select what frequency you want?? Seems like an oversight... for an EQ.
Comparable EQs have what? Please show me a tube eq, inductors based, with 41 frequency selections points x band. Massive Passive has 11, one less than this, Soma has 16 and it's probably the most you will ever find. Also the "vst" ain't a plugin passing audio, but only a digital interface, of course is gonna have the same choices
@@mixbustv Thank you for the reply David. When I said comparable EQs, I'm thinking of your SPL PQ, That's what I think of when I think of "mastering equalizer" (your video title does say "King of Mastering EQs"). I didn't realize that an inherent character of tube EQs is far more limited selectable frequencies within each band. This would have been good for me to know in the video for what it's worth. No one's ever told me that 11 or 12 frequencies could be considered "normal" for a "mastering EQ". Seems like there's a choice to be made when it comes to sound quality vs. frequency precision. It seems like a big thing to give up (precision) as a tradeoff for sound quality.
@@mixbustv Also, yes I'm aware that the VST is just controlling the hardware. I thought that since it's all two-way digital maybe you could use finer, more granular control of the freq sweeps. I think when you're using the HPF you can see it offers very granular control. I was thinking maybe something similar existed for the freq sweeps.
This is inductor based, and with that design you have limited choices for how many points you can put in a knob. The SPL is a beast on its own, you can't really compare this topology (tube, inductor) to the SPL, they sound and behave differently. Just like an Opto comp is hardly comparable to a VCA. The beauty of inductors is the sound tho
Ciao David, genuine question here; what difference do these new units actually make? What improvements do they have over all the other relatively new hardware EQ units that have been made in, say, the last 10 years? I would have thought that by now, we have EQ'ing pretty much figured out and can make amazing transparent EQ's, and biased EQ's with colour however we wished. So what can new units actually offer us instead of, perhaps, an easier workflow?
I'd say first and foremost the digital recall and automation, and yes of course workflow which is huge. It's not a matter of having EQ design "figured out" but more modern tech allowing for better, cleaner (low noise floor) design at a more affordable price, higher headroom (biggest issue with some tube gear..). If you have never worked with digitally controlled hardware you cannot know what a blessing they are. In my system, between Wes gear and my Flock I don't even have to REMEMBER what I used on a song, I fire the Flock, recall my session and everything is patched already, open the session and the hardware literally recalls itself. On this particular unit you also have touch sensitive encoders, this (probably I should have put that first) on a mastering eq is superior design because it allows for absolute precision, not just for recalls but for left and right matching. Did you see the range? This thing can boost or cut 0.08db!! That's insane on an analog eq. I think even plugins go 0.1 at minimum.
Well.. the Amek 250 doesn't really exist. It's actually a Sontec 250 but they didn't want to pay Sontec for the licensing (or Sontec didn't want to endorse or give it to them). The 250 is a solid state eq with fixed bells and shelves. Not really like this one
Would love a shootout with the Massive Passive (one can use Access Analog if you dont own one). I will snip some of the wet/dry audio on this video and give it a whirl
I think we'll see a lot of MP for sale after this. Besides all the features the MP is missing against this, I can tell the low end (which for me is the weak band on the MP) of the Wes walks over the MP
@@rrs731 probably the manely xformers. Its a color though, and a classic one too. The MP is also very sensitive to gain staging as I’m sure you know. I think they rectified this in recent years by upgrading the power supply
Great video I only have one thing that did not excite me, the tube saturation is meh to me it seems to my ears to slow down and chop the transients in a way I didn't really care for on most of the examples. Besides that the best feature pack analog EQ I ever seen. If I only could have one analog EQ this would work. To have this with any other great analog EQ could feel flawless. Great video again Dave. One question ,can swap the tubes without voiding your warranty?
I think you meant the transformer (red) output and not the tubes. With 26dbu of headroom, knowing what the design is (and after looking at the various responses) you know there's no way the tubes would do what you say you hear. Not even if I hit it 8 or 10db louder than what I did. This is actually the one of the fastest transients in any eq and you can hear it. The Carnhill can do that if you hit it hard enough (to some extent) plus with it being a low mid/low end color. As for swapping, you gotta ask Wes
My bad for not getting that part I thought when it go red the tubes where then being engaged but it is the red Transformer. Okay, and like you said I knew I never had this feeling when hearing tubes thanks for clearing it up for me. This is still the best release of a new age analog EQ I have seen before! Thanks again Dave!
It looks almost too good to be true and like a really useful eq for my chain, going for hybrid mastering more and more these days. Only thing I'm missing so far is a true level bypass, or did I miss something?
I'm not sure what you mean by true level bypass, the unit has individual and independent bypass for basically every single thing, filters, THD, individual bands, individual channels and full unit bypass. It also has an output knob so once you matched with/without levels you can compare at the same level.
No, why would it. They're very different in both sound and features and layouts. I patched this in my Flock, so it'll be anywhere I need with a click of a button. Single traks, busses, 2bus or in my mastering rig.
this thing looks amazing but for something like this im wondering - if they can ever add and make this a plugin controlled dynamic eq? making hardware like this for possible updates/ firmware and even funtionality wow that would be next level ? so an update to digital controlled/triggered analog EQ, you choose the band same control but the plugin some how controls a dynamic feature but the action is happening inside the hardware.
Well hard to compare because in comparison, a Pultec is a one trick pony. This does everything a pultec does and then 100 more. Sound wise this is a bit more refined with less fizzy (not that the pultec is fizzy but..) top end. More headroom for sure especially in the low end.
What do you mean who sent that? That's my fiancee Bella Kelly, lol we did it here. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-whJMdgwzE4A.htmlsi=LxWMvxmQEvLMgHAi All the music I use in my videos are my mixes or masters or full productions.
No it's all good. This is a full parametric with filters, Empress is a Pultec with a mid band, they just have tubes in common they are massively different
Not necessarily on the 2bus actually. I'm sure there will be cases in which I'll put it there but I see myself using this on single tracks and busses. The beauty of my system is that with the Flock I can place it anywhere I want with just a click.@@braxal6983
Hi Justin, if you haven't gotten a reply in 3 days please write again to bookinghfs@gmail.com maybe try with a different email on your end just in case it ends up in spam by accident. Thank you
