Waves H-EQ Hybrid Equalizer

User Guide

Chapter 1: Introduction

1.1 Welcome

Thank you for choosing Waves. In order to get the most out of your Waves processor, please take some time to read this manual. We also suggest that you become familiar with www.waves.com/support. There you will find an extensive answer base, the latest tech specs, detailed installation guides, new software updates, and current information about registering your products. By signing up at www.waves.com, you will receive personalized information about your registered products, reminders when updates are available, special offers, and more.

1.2 Product Overview

Waves H-EQ is a powerful Hybrid Equalizer that features:

Vintage and modern equalization curves inspired by the finest British and American consoles
Seven different filter types per band, including a newly-developed, one-of-a-kind asymmetrical bell filter
An intuitive keyboard graphic that lets you choose frequencies by clicking on notes
An exclusive MS matrix mode so you can apply different EQ to M (Mid) and S (Side) content
A flexible real-time frequency spectrum analyzer with multiple display options
New: The H-EQ Lite components, which require less CPU, are well suited for live sound or when processing resources are limited. The Lite components do not include the Spectrum Analyzer and Analog sections.
New: Any parametric band can be soloed by touching its Cue, Frequency, Q, or Gain controls. This provides a momentary check of a band's processing. For a latching solo of a band, click on its solo button.
New: A Smoothing feature eliminates noises that can occur while moving controls on certain older H-EQ versions. When a session with instances of older H-EQ versions loads, Smooth will automatically set to Off. This eliminates any chance that the smoothing process will affect the original sound. If noises are heard while moving controls, the user can switch Smooth on, but there's a chance that this may slightly alter the sound. By default, new instances of H-EQ in new or old sessions will load with Smooth On.

1.3 Concepts and Terminology

H-EQ has five parametric bands plus high- and low-pass filters, with seven different EQ types available for each band: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1 and Digital 2.

Modes

Linked/Stereo: Both left and right channels receive the same EQ processing, as with any stereo EQ.
Unlinked/Dual: Different EQ processing may be applied to the left and right channels.
MS Matrix: An MS matrix is applied which separates the stereo input into M (Mid) and S (Sides), thus enabling you to apply different EQ to the M and S channels. This is helpful in mastering situations where center-panned information may require different EQ processing than side-panned content, or when you need to correct the stereo imaging of sources such as drum overheads.

Analog

The Analog section provides control over the level of harmonics, hum, and noise levels added to the signal. To save DSP, the H-EQ Lite components do not include the Analog section.

Analyzer

The H-EQ's frequency analyzer presents a real-time graphical display of the input signal, output signal or both, as well as the EQ curve currently applied to the signal. To save DSP, the H-EQ Lite components do not include the Analyzer.

Asymmetrical Filter

H-EQ includes a newly developed, one-of-a-kind asymmetrical bell filter (Digital 1), which is ideally suited for creative equalization. It's important to note that the Q for this filter does not change the width of the bell; rather, it controls the "tilt" of the filter. Lower Q values are especially effective on low-frequency signals such as bass, kick drum and piano, while high Q settings work well on high-frequency content such as cymbals, strings, acoustic guitar and vocals.

Example 1 (Low Q): When the Q is set all the way counterclockwise (Q=1), the slope toward the cutoff point is much more gentle than the slope coming down from the cutoff point, which is much steeper, scooping out some of the low-mid frequencies. This creates a very musical bell shape that is ideal for boosting or cutting low frequencies.

[Description of the first asymmetrical filter graph: A curve showing a gentle slope leading up to a cutoff point, followed by a steeper slope downwards.]

Example 2 (High Q): When the Q is set all the way clockwise (Q=100), it creates a mirrored slope where the left side of the curve rises sharply and scoops out a bit before reaching the cutoff point, with a very gentle slope descending toward the higher frequencies.

[Description of the second asymmetrical filter graph: A curve showing a steep slope leading up to a cutoff point, followed by a gentle slope downwards.]

Keyboard

The Keyboard is a unique feature of the H-EQ that lets you choose frequencies by clicking on notes. Until now, EQs have been frequency-based, making them easier to use for engineers who are used to manipulating frequencies, but less comfortable for musicians who are accustomed to dealing with notes. For example, many people know that A4 = 440 Hz, but putting this information into practice and building on it while mixing is considerably more complex. This is where the power of the Keyboard comes into play; you can now move comfortably in both musical and engineering terms.

Let's take a look at a couple of examples:

You are a musician, and you hear a low E1 that's somewhat out of control coming from the bass guitar. Simply select the LF frequency control, click on E1 on the Keyboard, and the band frequency will snap to 41 Hz = E1. Or, you can grab the blue note (LF marker) on the Keyboard and sweep it down to E1.
You are an engineer, and your client (producer or musician) says that when the sampled violins hit F6 it becomes harsh and painful. To turn down the offending notes, select the HMF frequency, click F6 (1397 Hz) on the Keyboard. Presto.

You can also create narrow notches that correspond to specific musical keys, and automate them to produce interesting resonant effects. The Keyboard opens up a new world of creative and experimental EQ possibilities.

1.4 Components

WaveShell technology enables us to split Waves processors into smaller plugins, which we call components. Having a choice of components for a particular processor gives you the flexibility to choose the configuration best suited to your material.

H-EQ has two components:

H-EQ Mono
H-EQ Stereo

H-EQ Lite has two components:

H-EQ Mono
H-EQ Stereo

The H-EQ Lite components require less CPU than the complete H-EQ. This is useful for live sound applications or when DSP resources are limited. The H-EQ components do not include the Spectrum Analyzer or the Analog section.

Chapter 2: Quick Start Guide

Insert H-EQ on a track. Select the Full or Lite component.
Select a Channel Mode: Linked, Unlinked, or MS.
Select a Filter Type for each band. Toggle between the filter types and pay attention to how they affect the sound. Each has its own unique-sounding curve.
Adjust the Frequency, Q, and Gain parameters, as you would with any EQ.
Turn on Analog and toggle between types to find the one that adds the color you find most pleasing for this content.
Play the song and watch the Analyzer to better understand the frequency spectrum spread.
Use the Solo function to hear only the band you're currently adjusting. This allows you to focus on and fine-tune your settings.

Chapter 3: Interface and Controls

3.1 H-EQ Interface Overview

H-EQ (Stereo) Component Interface Description

The H-EQ interface is divided into several key areas:

Spectrum Analyzer: Located at the top, this section displays graphical representations of the audio signal and EQ curve.
- EQ Graph: Shows the EQ curve applied to the signal.
- Input Analyzer: Displays the input signal's frequency spectrum (represented by a wavy line).
- Output Analyzer: Displays the output signal's frequency spectrum (represented by a different wavy line).
- Analyzer Scale: Shows the dB range of the analyzer (e.g., 0 to -60 dBFS).
- EQ Scale: Shows the dB range for EQ adjustments (e.g., +/-30 dB linear).
- Band Marker: Visual indicators on the EQ graph representing each EQ band, allowing for direct manipulation.
- Piano Roll: A visual representation of musical notes mapped to frequencies, often displayed below the EQ graph.
Controls Area: Located below the Spectrum Analyzer, this area contains all the operational controls. It is further divided into sections:
- Input Section:
  - Input Fader: Controls the signal input level (Range: +12 to -30 dB). In stereo mode, separate Left/Right faders are available. In MS mode, these control Mid (M) and Sides (S) levels.
  - Input Meters: Full-scale meters located above the input faders to monitor input levels.
- Mode Section: Allows selection of the channel processing mode.
  - Stereo/Linked: Both Left and Right channels receive identical EQ processing.
  - Dual/Unlinked: Left and Right channels can be processed independently. Input and output faders are unlinked. Small buttons next to the link control determine which channel (L or R) is affected by EQ adjustments, indicated by curve colors (e.g., orange for L, light green for R).
  - MS Matrix: Separates the stereo signal into Mid (M) and Sides (S) components for independent EQ processing. The M channel is typically represented by one color (e.g., orange) and the S channel by another (e.g., light green) on the EQ graph. A "Listen" control (speaker icon ?) allows soloing M or S information. Buttons next to the Listen control determine which channel is affected by EQ.
  - Solo (enable): Enables quick activation of Solo mode for individual EQ bands. When Global Solo is active, touching or moving a band's controls can put it into solo mode. This applies to LF, LMF, MF, HMF, and HF bands. Solo is momentary when adjusting controls but provides a locking solo when activated via the band's solo button.
- EQ Section: Contains the seven EQ bands. Each band has an On/Off switch.
  - HP (High Pass Filter):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Frequency Range: 16 Hz–21096 Hz.
    - Q Range: 1–100 (Not available in UK Vintage 1, UK Vintage 2, US Modern, Digital 1).
  - F (Low Frequency):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Shape Range: Shelf/Bell (selected using a toggle control).
    - Frequency Range: 22–21096 Hz.
    - Q Range (Bell): 1–100 (Not available in UK Vintage 2, US Modern, UK Modern).
    - Q Range (Shelf): 1–100 (Available only in Digital 1 and Digital 2).
  - LMF (Low-Mid Frequency):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Shape Range: Bell only.
    - Frequency Range: 22–21096 Hz.
    - Q Range: 1–100 (Not available in US Modern).
  - MF (Mid Frequency):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Shape Range: Bell only.
    - Frequency Range: 22–21096 Hz.
    - Q Range: 1–100 (Not available in US Modern).
  - HMF (High-Mid Frequency):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Shape Range: Bell only.
    - Frequency Range: 22–21096 Hz.
    - Q Range: 1–100 (Not available in US Modern).
  - HF (High Frequency):
    - Types: US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2.
    - Shape Range: Shelf/Bell (selected using the toggle control).
    - Frequency Range: 22–21096 Hz.
    - Q Range (Bell): 1–100 (Not available in UK Vintage 2, US Modern).
    - Q Range (Shelf): 1–100 (Available in Digital 1 and Digital 2 only).
  - LP (Low Pass Filter):
    - Types: US Vintage, UK Vintage 2, US Modern, UK Modern, Digital 1, Digital 2 (UK Vintage 1 not available).
    - Frequency Range: 21096–16 Hz.
    - Q Range: 1–100 (Not available in UK Vintage 2, US Modern, Digital 1).
  - Gain: Each parametric band has a Gain control. Range: +/-18 dB.
  - Solo: Each parametric band has a latching Solo button at the bottom of the EQ band control. This button soloes the selected band, which facilitates detailed band-specific adjustment.
- Analog Section:
  - Analog: Toggles between analog characteristic types (Off, US Vintage, UK Vintage 1, UK Vintage 2, US Modern, UK Modern).
  - Level: Controls the level of combined noise and hum. (US Vintage = 60 Hz, UK Vintage 1 & 2 = 50 Hz. Not available in Digital 1, Digital 2; Hum not available in US Modern, UK Modern). Range: 0–200%, Default: 100%.
  - THD Level: Controls the level of harmonic distortion added to the signal. Range: 0–1000%, Default: 100%.
  Note: The Analog section does not appear in the H-EQ Lite components.
- Keyboard Section:
  The Keyboard lets you choose frequencies by clicking on notes. Range: F0–E10. For more information, please refer to Section 1.3 above, Concepts and Terminology.
  [Description of the Keyboard UI: A visual representation of piano keys, typically spanning from F0 to E10, allowing users to select frequencies by clicking on notes.]
- Display Section (Analyzer Controls):
  - Analyzer: Turns the Analyzer on/off.
  - Show: Turns the Analyzer on/off.
  - In: Displays the input signal, post-input fader, represented in yellow.
  - Out: Displays the output signal, post-output fader, represented in blue.
  - L/M: Turns on the display of the left side only in Stereo mode, or the M in M/S mode.
  - R/S: Turns on the display of the right side only in Stereo mode, or the S in M/S mode.
  - Freeze: Clicking the Freeze button stops the frequency graph. To release it and return to real-time graphing, click the button again, or click any other Analyzer control.
  - Peak Hold: Clicking Peak hold stops the frequency graph at its highest peak point, the maximum measured level.
  Note: Switching off both L/M and R/S turns the Analyzer off. The Analyzer displays the signal before the Analog section, so any changes caused by the Analog section are not shown here. Turning the Analyzer off or closing the H-EQ graphic interface removes it from your CPU load, thus enabling a greater number of H-EQ instances. To reduce DSP load, the Analyzer is not included in the H-EQ Lite component.
- Output Section:
  - Output fader: Controls signal output level. In the H-EQ Stereo component, separate left and right channel faders are available. In MS and Unlinked modes, the faders move separately to accommodate for left/M and right/S channel level differences. Faders may be re-linked momentarily using the fader link control to enable output level adjustment for both channels simultaneously.
  - Phase: Flips the phase of the signal by 180 degrees. In the H-EQ Stereo component, there are separate left and right controls to adjust the phase on each channel independently.
  - Trim: Displays the maximum peak level of the output signal and its distance from 0 dBFS. Clicking on the trim value button resets it to 0, and applies the differential to the input level.
  - Output Meters: Full-scale Output Meters with clip indicators are located above the Output faders.
- Smoothing:
  Older versions of H-EQ may introduce a noise when a control is moved, including when controlled under automation. The Smooth feature resolves this issue. Normally, Smooth should be On (✔️), whether working in a new session or opening an existing session that contains instances of the new H-EQ version. However, when a session was created with the older version of H-EQ, Smooth will automatically set to Off (❌). This assures that there is no change in sound. The Smooth control is located in the WaveSystem Toolbar at the top of the plugin interface.

[General description of the plugin interface visual: The interface features a graphical EQ display at the top with frequency spectrum analysis capabilities, and a comprehensive set of controls below, organized into Input, Mode, EQ bands, Analog, Keyboard, Display, and Output sections. Each EQ band offers adjustable frequency, Q, gain, and filter type. The Analog section adds character, while the Keyboard provides a musical approach to frequency selection. The Analyzer offers detailed visual feedback.]

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