Q10 Setups: - A Tutorial Manual in The Use of Unique EQ Effects and Tools

from
Q10 Setups
— a tutorial manual in the use of unique EQ
effects and tools
Q10.setup.e-book Cover Page 1

Introduction
The Q10's capability of implementing 10 sections of parametric equalization in
each of two stereo channels permits an unparalleled complexity of equalizer
setup. This allows many new effects and production tools to be obtained not
hitherto practical on available equalizers. While excellent for standard
equalizer jobs, the Q10's potential is only fully stretched by these new effects,
and its “select and drag” control interface permits rapid adjustment and editing
of such effects in minimum time.
However, filter design is a skilled art, and it can take hours or days of work
setting up the 60 equalizer control values of the Q10 to achieve a complex
equalization effect purely by trial and error, and many more tedious hours of
work to “tune” the effect to cope with the requirements of different input signals.
Both the pressures of commercial production work and the spontaneity
required in creative music do not normally permit the time to optimize such
effects.
For this reason, Waves is making available a range of setups for the Q10 to
achieve sophisticated and easy to adjust effects. The setups as they stand
already produce a large number of highly useful and many unique effects, but
users can use these setups as a starting point to arrive at the precise effect
required for each case in minimum time.
This manual describes the methods of getting the most out of the setups
provided. It is intended both to describe methods of adjustment of individual
effects, and to give useful hints and insights into the use and subjective
optimization of EQ effects. This manual has been termed a “tutorial manual”
because it does more than give minimal instructions - rather it helps users
unlock the considerable power of the Q10 to achieve EQ effects of greater
subtlety and nicer sound than was hitherto possible with previous parametrics.
It can truly be said that with these setups, the Q10 becomes far more than just a
conventional parametric equalizer. Rather, it becomes a unique effects unit
capable of extraordinary effects unlike anything else on the market.
All effects (with a few noted exceptions designed for use with sample rate
conversion) will work at both 44.1 and 48 kHz sampling rates.
1.2 “Try These First!” effects
While getting the most out of many of these effects requires detailed study of
how to use and adjust numerous individual effects, initial effects that can be
used for useful results without any hassle are provided in the "Try These First !”
Q10.setup.e-book Ch.1 - Introduction Page 2
folder. Just put these setup files in your Sound Designer II folder, and then load
them into your Q10 to hear (and see on the graphical display) the effects.
1.2.1 Pseudostereo effects
Intended for use with stereo sound files whose two channels are identical
mono signals, (although the effect can be auditioned in preview and playback
modes on mono files - but not processed), this produces a “pseudostereo”
effect with different frequencies of sound panned to different positions across
the stereo stage. This help provide a stereo effect from mono sounds to “liven
up” and make a more spacious presentation in stereo. These are carefully
tuned to minimize any tonal changes from the original mono.
PseudoStereo2.setup. This produces a “pseudostereo” effect with bass on

the left, mid-frequencies in the middle, and high treble sounds on the right,
without changing tonal balance. A great way of adding real left/right stereoism
to complete mono mixes.
Frequency response of PseudoStereo2.setup.
PseudoStereo10X.setup. This produces a very wide “pseudostereo” effect

with 10 different frequency bands panned alternately to the left and to the right,
without changing tonal balance. A great way of adding a very wide sound to
mono signals.

Frequency response of PseudoStereo10X.setup.
PseudoStereo18.setup. This produces a very diffuse “pseudostereo”

spread effect with 18 different frequency bands panned alternately to the left
and to the right, without changing tonal balance. A great way of spreading
mono signals in the stereo stage without making them too wide. Also “mono
compatible”, i.e. suitable for use where signals may be later reduced to mono
again, such as in radio broadcasting.
Frequency response of PseudoStereo18.setup.
1.2.2 Bandlimit effects
telephone.setup. This gives the authentic sound of telephone bandwidth

restricted from 300 Hz to 3 kHz. Flat frequency response within the telephone
range, and a very fast “brickwall filter” cut-off outside the frequency range. Great
whenever a realistic-sounding “telephone” sound effect is required. Can also
be used for monitoring what a mixed sound file will sound like if heard down a
telephone.

Frequency response of telephone.setup.
AMradio.setup. The sound as heard over typical AM radios, restricted in

bandwidth between 100 Hz and 5 kHz, with brickwall filtering outside that
frequency range. Great for judging the effect of mixes intended for AM radio
airplay, or as an “effect” in drama and commercials when a sound is
supposedly heard on radio or TV.
Frequency response of AMradio.setup.
Speech.setup. This setup removes frequencies above 10 kHz and below

130 Hz. It is intended for speech applications such as in multimedia sound
where removing unnecessary speech frequencies can aid intelligibility.

Frequency response of speech.setup.
multimedia22.setup. This simulates on 44. 1 kHz sampled files the sound of

the bandwidth limiting caused by the widely used multimedia 22 kHz sampling
rate. A brickwall low-pass filter flat up to 10 kHz and then “brickwalling” down to
virtually nothing above 11 kHz. Great for monitoring what the loss of high
frequencies will do when preparing files for multimedia use.
Frequency response of multimedia22.setup.
1.3 Operational aspects
1.3.1 Clipping distortion & Overload
The input and output gains of setups are generally adjusted so that the overall
energy gain is unity to permit direct A/B comparisons between sounds in
effected and bypass modes in preview. However, be warned that with audio
files running to near peak levels, this can sometimes result in outputs that clip
or overload, causing distortion. Any overloads will be registered in preview and
after processing by the overload indicators above the level meters. You may
wish to reduce input levels by say 3 dB to reduce the risk of overloads.
If overload has occurred on a processed audio file, you should undo the
processing, reduce the input gain, and process again.

The input gains in most setups are generally adjusted so that for most signals,
the internal processing of the EQ will be free of internal clipping distortion, so
that most of the time, overload distortion will occur only at the output, so can be
avoided by pulling down output gain. However, to be absolutely safe with
exceptional signals, it is better to perform any needed gain reduction on the
input levels.
An exception to this rule is the intentional distortion effects!
1.3.2 Sampling rates
Except where specifically stated otherwise, the effects here were devised
primarily for use with audio files sampled at 44.1 or 48 kHz, and many of the
setups will not work in the intended fashion at lower sampling rates such as 11
or 22 kHz multimedia sampling rates.
In the older Q10 version 1.0, the setups will not load correctly at sampling rates
below 44.1 kHz, and the graphical display will be incorrect.
Because different sampling rates handle different ranges of audio frequencies,

and because the performance of digital IIR filters such as used in the Q10 also
varies with sampling rate, not all setups can be expected to function correctly at
all sampling rates. However, some do, and Appendix B lists those setups that
will work well at all sampling rates above 22 kHz, and also lists some
alternative setups designed for use with audio files sampled at 22 kHz that
have similar performance to other setups designed for 44.1 or 48 kHz audio
files.

Setup Files in the Library
Categories of EQ and effects include:
Pseudostereo setups
Steepcut lo- and hi- pass filters
Psychoacoustic noise filters
"Supernotch" filters
Baxandall equalizer
Superparametric equalizer
Graphic equalizer
Multimedia tools for 22kHz and 11kHz
Brickwall crossover effects
Harmonic comb filters
Distortion effects
Psychacoustic stereo panning
••••••••••••••••••••••••••••••••••••••••••••••••••••••
Detailed descriptions of each category
••••••••••••••••••••••••••••••••••••••••••••••••••••••
Adjustable “Pseudostereo” Effects
A wide range of that turn mono files into spacious or spread stereo sounds,
with minimum tonal degradation. Some of these effects are similar in sound
(although using different signal processing methods) to the well-known
pseudo-stereo effects devised by Bob Orban, whereas others provide a more
dramatic and spacious effect. Different pseudostereo setups provide quite
different sounding stereo stages, varying from a subtle broadening of the
original mono image to dramatic separation of different strands of the original
mono sound into different stereo positions. Hitherto, such effects have been
available only from dedicated pseudostereo processors, and some of the
control facilities in these setups have never been available before.
Basic alternative pseudostereo setups:
PseudoStereo2.setup,
PS2band2.setup,
PStunableA.setup,
PStunableB.setup,
PStunableC.setup,
PS7band.setup,
Q10.setup.e-book Ch.2 - Setup files in the Library Page 8
PS7band2.setup,
PShistoric.setup,
PS10band.setup,
PSVocals.setup
PseudoStereo10X.setup,
PS14band.setup,
PseudoStereo18.setup.
Versions with reversed or narrow stereo stages:
PS2reverse.setup,
PS2reverse2.setup,
PStunableAreverse.setup,
PStunableBreverse.setup,
PStunableCreverse.setup,
PS7reverse.setup,
PS7reverse2.setup,
PShistoricreverse.setup,
PS10reverse.setup, PS10narrow.setup, PS10revnarrow.setup,
PS10Xreverse.setup, PS10Xnarrow.setup, PS10Xrevnarrow.setup,
PS14reverse.setup,
PS18reverse.setup.
Steep cut low-pass and high-pass filters. These filters are useful
for removing unwanted frequency extremes. For example, the quality of speech
can often be enhanced, especially for reproduction over cheap consumer
equipment, by removing extreme bass and or extreme treble. Unwanted rumble
noises can be removed from music recordings by sharply cutting off bass just
below the lowest useful musical frequencies. Such filters are ideally flat out to
the cut-off frequency when they “nose-dive” rapidly. Several designs are
provided, whose cut-off frequencies are adjustable, and which provide various
rates of cut-off. Presets include a “telephone” quality filter confining frequencies
to between 300 and 3000 Hz - great for simulating a telephone effect on
speech, and a “speech” quality filter confining sound to the range 130 Hz to 10
kHz, ideal for much multimedia and many broadcast applications. Besides use
in production, such filters can also be used to monitor the sound playback
quality of a mix as heard over say an AM radio bandwidth of 100 Hz to 5 kHz. In
this way, simply by playing back a file through a restricted bandwidth filter, one
can check whether anything important is lost in the end result heard by
consumers. A “Broadcast” filter limits bandwidth to the 30 Hz to 15 kHz used for
FM radio and TV work.
Basic steepcut filter setups:

telephone.setup, telephone2.setup,
AMradio.setup, AMradio2.setup,
speech.setup, speech2.setup,
multimedia22.setup, multimedia11.setup
Broadcast44.1.setup, Broadcast48.setup
EQtools.setup.
Psychoacoustic noise filters. These filters are designed to reduce

noise in the bass and treble while having a less damaging tonal effect on the
wanted signal than steep cut filters. They are designed with a cut-off
characteristic much more closely matched to human psychoacoustics.
noisefilters1.setup, noisefilters2.setup.
“Supernotch” filters. These are notch filters to selectively remove

troublesome or unwanted narrow frequency bands, but with less “spread” of the
filtering action out to more distant frequencies. Conventional parametric
notches tend to affect the general tonal quality outside the intended frequency
band. Super-notches can be used to reduce unwanted “whistles”, and also to
remove the most audible “hiss” components in noisy material with minimal
tonal degradation. Adjustable in frequency and notch width.
Deep supernotches are provided in
Supernotch.setup
EQtools.setup
HarmonicComb5.setup
and more moderate partial supernotches in
PresenceA.setup,
PresenceF.setup,
and also in
noisefilters1.setup.
Baxandall equalizer. A digital version of the classic bass and treble tone
control devised by Peter Baxandall (who is still active in audio today) in the late
1940's. Still widely used to this day because of its subjectively gentle and
smooth tonal modifications.

Baxandall equalizer sections are provided in
EQtools.setup
and also in the pseudostereo setups
PS14band.setup, PS14reverse.setup.
Superparametric equalizer. These settings allow selective boosts or

cuts of narrow frequency bands without unwanted boosts or cuts away from the
frequency band. Frequency and width of the equalizer is adjustable. Unlike
conventional parametric boosts, superparametric boosts often allow one to
bring out frequency components of a particular sound in a mix without ruining
the sound of the rest of the mix.
Superparametric boosts and cuts are provided in
PresenceA.setup,
PresenceF.setup.
A direct comparison with conventional parametric boosts and cuts is provided

by
PresenceB.setup.
Graphic equalizer. The default setup on first opening up the Q10 is as a

ten-band graphic equalizer with bands spaced at octave intervals. So that this
default can be called up at any subsequent time, it is also provided as the setup
file
Graphic10.setup.
A 6-band graphic equalizer is provided in
Graphic6band.setup
and within the pseudostereo setups
PseudoStereo2.setup, PS2reverse.setup, PS2band2.setup,

PS2reverse2.setup
Tools for 22 and 11 kHz multimedia use. Tools for 22 and 11 kHz
multimedia use. It is common to do basic production work for multimedia 22 or

11 kHz sampling rates at the CD rate of 44.1 kHz and then to convert the
sampling rate. Several tools for improving quality when doing this are provided.
The following 3 setups are intended to compensate for the treble roll-off of the
Sound Designer II sampling rate conversion process, and are used after
conversion to the final sampling rate, and prior to final peak limiting and
requantization. Setups are provided for use at 3 sampling rates, 22.05 kHz,
22.254 kHz and 11.025 kHz. They typically give a 25% increase in bandwidth.
22.05postcomp.setup, 22.25postcomp.setup, 11.025postcomp.setup.
A general bandlimiting tool for files subsequently to be converted to 22 and 11

kHz sampling rates is
multimedia22.setup, multimedia11.setup.
Brickwall crossover effects. These effects provide “brickwall”

crossover filters between frequency bands, with an extremely steep crossover
rate. They may be used wherever it is desired to split a signal cleanly into two
or more distinct frequency bands and processed separately. They may be used
for general applications where two bands are to be processed differently before
being put back together again by mixing. As provided, they can be used for an
extreme pseudostereo effect where different frequency bands are panned into
different stereo positions. Various options are provided including a split into
low- and high-pass bands, and a split into a bandpass and bandreject signals.
crossover1.setup,
crossover2octave.setup, crossover3octave.setup, crossover4octave.setup,
crossoverLCR.setup, crossoverLCR2.setup,
crossoverLC.setup, crossoverCR.setup.
Harmonic Comb Filters. These filters “notch out” a fundamental

frequency plus a number of its harmonics. They are useful for removing highly
pitched tones with some harmonic content,
HarmonicComb1.setup,
HarmonicComb2.setup,
HarmonicCombOdd.setup,
HarmonicComb5.setup.
Distortion Effects. Normally, digital clipping distortion is to be avoided.

However, there may be situations where a creative distortion effect is required,
and a few distortion setups are provided for the Q10 where intentional filtered

clipping and “overdrive” effects are created.
E-guitar1.setup, E-guitar2.setup,
E-guitar1flat.setup, E-guitar2flat.setup,
E-guitar1PS.setup, E-guitar2PS.setup,
Badtelephone.setup.
Psychoacoustic stereo panning. These effects allow a mono sound to

be positioned half-left or half-right, or even beyond the left or right
loudspeakers, with a greater sense of spaciousness than given by ordinary
stereo panning. Helps to make for a more interesting stereo effect in a mix.
HalfLeft.setup, HalfRight.setup,
HyperLeft.setup, HyperRight.setup.

Select-and-drag control and
editing
3.1 Select-and-drag control
The Q10 permits a large number of equalizer parameters to be “linked”, i.e.

controlled at the same time with a single movement of the mouse, and this
provides a powerful method of rapidly altering setups to achieve new settings
ideal for particular program material.
For most adjustments on stereo material or on mono inputs, the stereo

channels should be linked. If the “strap” button is not lit-up, click on it.
If you are not familiar with select-and-drag control and editing on the Q10, the
following describes this powerful EQ control method. Although it can be used
with most setups, it is described in connection with the setup EQtools.setup.
Q10.setup.e-book Ch.3 - Control and editing Page 14

EQtools.setup response curve
To load this setup, first ensure that the Q10 window is open, click the “load”
button, select EQtools.setup, and click the “open” button. The screen shown
above should appear.
In the following descriptions, Q10 bands will be numbered from the top of the
display, band 1 being the top band, band 2 being the second band down, and
so forth to band 10 at the bottom of the display. Later versions of the Q10 have
this band numbering to the left of the in/out buttons as shown above. Many of
the setups use several Q10 bands to achieve a single filtering effect.

Baxandall bass and treble boost and cut by 10 dB.
For example, the EQtools.setup file when loaded provides 4 different

equalization tools. Bands 1 and 2 provide the respective bass and treble of a
Baxandall equalizer,. Bands 3 and 4 provide a “supernotch” filter for removing
unwanted narrow frequency bands. Bands 5, 6 and 7 provide an adjustable
steep-cut high-pass filter for removing low bass frequencies. Bands 8, 9 and 10
provide an adjustable steep-cut low-pass filter for removing high treble
frequencies.
Baxandall bass gain Treble gain
Baxandall
tone controls
Select & drag
Supernotch supernotch Q
bandgroup
High-pass filter Select & drag

supernotch
High-pass filter
bandgroup supernotch
frequency
Low-pass filter
bandgroup
Select & drag

Select & drag
high-pass
low-pass
frequencies
frequencies & Q
Showing the select and drag options and controls of the EQtools.setup.
Each group of Q10 bands used to provide a single effect is called a bandgroup.
In the example of EQtools.setup, bands 1 and 2 form the bandgroup for the
Baxandall equalizer, bands 3 and 4 provide the bandgroup for the
“supernotch”, bands 5 to 7 provide the bandgroup for the high-pass filter and
bands 8 to 10 provide the bandgroup for the low-pass filter. Each bandgroup
may be adjusted independently of the others.
To “select” a number of buttons, click the mouse in the area adjacent to the
buttons just outside the area to be selected, and then holding the mouse key
down, drag the mouse till the displayed rectangle intersects or encloses just the
desired set of buttons (which will be highlighted in color). Then release the
mouse key.
The settings of the selected buttons may now be altered. If the selected buttons
are In/Out buttons, clicking an any of the selected buttons will alter the state of
them all from on to off or vice-versa, and the buttons will continue to be selected
for further switching. For example, if the In/Out buttons of Q10 bands 3 & 4 of
EQtools.setup are selected, then clicking on either button will switch the
supernotch filter in or out, and A/B comparisons of the sound with and without
the supernotch may be performed as often as one likes by clicking over and
over again on one of the selected buttons. In a similar way, the low-pass,
high-pass and Baxandall filters may be switched in or out by selecting the
In/Out buttons of the respective bandgroup, and then clicking within one of the
selected buttons.
Clicking the mouse anywhere outside the selected buttons (except on preview ,
bypass and playback), however, de-selects them.
If several parameter value windows are selected, then their values may be
altered by clicking and holding down the mouse button within any one of the

selected value windows, and then moving the mouse, while continuing to hold
the key down. For example, with the “supernotch” (Q10 bands 3 & 4) in, its
frequency may be altered by selecting the frequency value windows of both
bands 3 & 4, and then clicking the mouse within one of these and “dragging”
the frequency value to either side. The width of the supernotch can similarly be
varied by selecting the Q value windows of Q10 bands 3 & 4, and then clicking
the mouse within one of these and “dragging” the Q value to either side.
The frequency of the high-pass filter (Q10 bands 5, 6 & 7) may similarly be
altered by selecting the frequency value windows of these 3 bands, and then
click-and-dragging the frequencies to either side from within one of the
selected value windows.
In all select, click and drag operations, the operation is applied to both stereo
channels provided that strap mode is selected. If strap mode is not selected,
then the operation is only applied to the channel (left or right) selected at that
time.
In the EQtools.setup, the frequency of the low-pass filter (Q10 bands 8 to 10)
may be altered by selecting the 3 frequency value windows and the three Q
value windows of these 3 bands 8 to 10, and then click-and-dragging (to either
side) the frequencies and Q’s simultaneously from within one of the selected
value windows. For the low-pass filter, dragging frequency alone will not give a
flat response before cut-off as the frequency is varied.
3.2 Editing of setups by selection and pasting
Besides controlling the values of gains, frequencies, or Q’s in a setup, selection

methods can also be used to edit your own personal setups from the ones
provided. Any selection of settings of buttons and value windows of any
number of Q10 bands can be copied over to any other Q10 bands by selecting
the set of buttons and value windows it is desired to copy from, press the “c” key
on the keyboard, select the second set of buttons and value windows it is
desired to copy to, and press the “v” key on the keyboard. Do not press the
command key before pressing c or v.
Such copying and pasting of Q10 bands can be within one setup, or can be
from bands in say setup A to bands in say setup B, by clicking the setupA or
setupB button before doing the second selection. If the strap is off, one can also
switch to the other stereo channel before doing the second selection to transfer
a setup from one channel to the other.
For example, in the EQtools.setup, one may wish to use two supernotches at
different frequencies, but no Baxandall controls. If so ensuring first that
channels are strapped, one can select the whole of Q10 bands 3 & 4, press “c”

on the keyboard, select the whole of Q10 bands 1 and 2, press “v” on the
keyboard, and then one has pasted a second supernotch to bandgroup 1 & 2. If
both supernotches are switched in without alteration, one will get a much
deeper supernotch ideal for removing loud whistles. Alternatively, one can
select the frequencies of bands 1 & 2 and drag side-to-side to alter the
frequency of this second supernotch, or can select and drag the Q’s of bands 1
and 2 to alter the width of the second supernotch.
Select and paste methods of editing setups means that effects occupying
different bandgroups in different setups can be edited and compiled into a new
setup containing just the precise effects you need for a particular task. Select
and drag can then be used to tune the values for your specific requirements.
For example, you may paste say 6 bands of pseudostereo from 6 adjacent
bands of one of the 10-band pseudostereo setups, say PS10band.setup, and
combine it with say 2 Baxandall EQ bands pasted from EQtools.setup and a
superparametric presence peak pasted from 2 Q10 bands of PresenceA.setup
or PresenceF.setup. The resulting setup can then be saved for future re-use
and modification.

Pseudostereo effects
4.1. About pseudostereo
Pseudostereo effects are intended to simulate a spacious or spread stereo

sound from mono source material, and can be used to enhance old mono
material, and to spread and "liven up" mono components such as vocals, mono
ambiences or mono instrumental lines in a stereo multitrack mix.
All the pseudostereo effects work by panning different frequency components

of the sound alternately to the left and to the right of the stereo stage.
Pseudostereo effects differ in the precise way stereo position varies with
frequency. Most of the setups are characterized by the number of pseudostereo
frequency "bands", i.e. the number of alternations of stereo position between
left and right as frequency is varied across the audio band.
All the pseudostereo setups are intended for use with mono files, or with stereo
files where the two channels are identical, designed to minimize tonal changes
in the original mono sound by retaining a flat total energy response from the
two stereo loudspeakers. If used on stereo mixes, then the pseudostereo
effects will work properly only for sounds in the center of the mix, with a risk of
unpleasant tonal alteration in sounds to either side of the stereo stage.
The sound of all pseudostereo effects may be auditioned in stereo in preview

or playback modes either with mono files or with stereo files having identical
left and right channels (“double mono” stereo files). However, be aware that
because of the processing limitations of Sound Designer II that if you wish to
process a mono file to a pseudostereo stereo file, you must start off with a
double-mono stereo file. Otherwise, the processed file will be in mono. You
may convert a mono file into a double-mono stereo file rapidly in Sound
Designer II by selecting “Save a Copy...” in the file menu, then selecting Sound
Designer II, 16 bit, stereo mode, entering a new file name, and then clicking the
“Save” button.
However, the pseudostereo effect may sometimes work well applied to stereo
mixes where all the important sound sources are near the center and where the
stereo components are mainly reverb ambiences or spread sounds such as
crowd noise, stereo rain sounds, or electronically double-tracked sounds
where the direct and delayed sound is applied at similar levels to opposite
channels. Whether this will work can be determined only by listening to see
whether a pseudostereo effect works on an individual stereo mix, listening for
possible losses of frequency components in sounds at the two sides. The
chances of success when applied to stereo mixes is increased if the “narrow“
versions of pseudostereo setups are used, although these will provide a less
Q10.setup.e-book Ch.4 - Pseudostereo effects Page 20
dramatic spread of central mono sounds in the mix.
The principles of pseudo stereo are simple. Different audio frequencies are
panned alternately to the left and the right, so that different frequency
components are split between the two stereo channels. This is done by cutting
the frequency components in one channel and slightly boosting the same
frequency component in the other channel to compensate for the loss of
energy.
While the principle is simple enough, adjustments need to be very precise, and
it is very easy to ruin the general tonal balance by even small misadjustment in
the equalization in the two channels. Therefore, unless one has plenty of time
and experience to do fine tuning, it is not recommended that the tonal controls
of the pseudostereo effects be adjusted individually, but that adjustments be
confined to the select-and-drag adjustments recommended in the following.
These provide a wide range of alterations in the pseudostereo effect while
retaining the best available tonal neutrality.
It is important that all adjustments of pseudostereo setups should be made with

the stereo channels strapped. If the strap button is not lit up, click on it.
There are many basic varieties of pseudostereo effect provided, each of which
is also provided in a stereo reversed version.
4.2. Subjective and operational aspects
Pseudostereo effects historically gained a very bad reputation, due to the very
poor sound of most early attempts at this effect.
The pseudostereo effects provided as setups, and their modifications as

described below, are designed for maximum tonal neutrality, although any
alteration of stereoism is going to have some subjective tonal effects.
Phasiness. Because the Q10 is a parametric equalizer with conventional

so-called “minimum phase” behavior, any non-flat setting causes some phase
shifts as well as the amplitude gain variations with frequency seen on the
display graph. With the pseudostereo effect, this inevitably means that there will
be phase differences between the stereo channels, which can sometimes be
audible as an unpleasant “phasiness”. The narrow setups will generally be
found to be less phasey, and phasiness effects may also be found to be smaller
in the 2-band setups. The wide range of setups permits the user to make his or
her own judgments on the acceptability of phasiness in individual cases.
Waves hopes in future to bring out specialist pseudostereo products with low
phasiness, based on patent applications by Waves consultants.

Mono Compatibility. Most pseudostereo setups provided are broadly
mono-compatible, without cancellations or wide excursions in frequency
response, although some setups will not give a completely flat frequency
response when heard later in mono. Generally speaking, the historic, 10-, 14-
and 18-band setups are fully mono compatible, and the tunable, 7-band and
10-bandX setups are generally the least mono compatible, but still usually
acceptable. If mono compatibility is important, the “narrow” versions of the
setups will generally be more mono compatible than the normal. In all cases, in
the Q10 version 1.1, a very wide pseudostereo sound can be got by clicking the
polarity reverse button on the right channel only, but be aware that this
increases phasiness and may give poor mono compatibility and low mono
level. However, this may be acceptable for background “ambiences”
accompanying a main dialog or vocal which it desired should be less audible
in mono.
Headphone results. It is very important to be aware that the subjective effect

of stereo is very different over headphones and over loudspeakers, and it
should not be assumed that a desired pseudostereo result over loudspeakers
will automatically give a similar desired effect over headphones. If headphone
listening is an important market for a mix, (e.g. on Walkman-type devices), the
results should be checked on both loudspeakers and headphones. This being
said, the headphone results are usually found to be very acceptable, adding
greatly to a sense of spaciousness.
Stereo monitoring. While on the subject of monitoring, it is wise to check that

the monitoring loudspeakers used are set up so as to give a good stereo
imaging effect if subjective judgments on the pseudostereo are to be reliable.
One way of checking quickly that the stereo performance is symmetrical
between left and right is to load the tunableA pseudostereo effect
(PStunableA.setup) in setup A on a mono source, and to load the reverse
version (PStunableAreverse.setup) of the effect in setup B, and then to switch
between setup A and setup B while playing back a mono source. If there is a
significant change in the audible tonal quality, it is likely that your monitoring
arrangement is not symmetrical and will give unreliable results in monitoring
stereo mixes. It is particularly important to listen in a precisely central
symmetrical listening position to assess pseudostereo effects properly.
Gain settings and overload. As provided, the input and output gain
settings of the pseudostereo setups are such that the overall energy gain from
input to output is unity, which permits a direct comparison between the bypass
mode and the pseudostereo mode without gain changes. However, because
the pseudostereo effects pan some frequency components mainly to one
channel rather than splitting equally between two, this can sometimes result in
channel overloads on the output in that channel. Generally speaking, these can
be avoided by pulling down the output gain faders together, by selecting both
and then dragging them down. A further gain reduction of 3 dB will almost

always avoid any overload problems, although the amount needed must be
determined on a case-by-case basis.
Narrow and reverse setups. The reason for providing narrow, reverse and
reverse narrow versions of setups is that these variations are often useful. For
example, if a dominant frequency component is panned to the wrong side of
the stereo stage, using the reverse version of the setup will pull it over to the
other side. Also, if two mono sounds are both pseudostereo processed with the
same setup, the result will simply be the same as the pseudostereo effect
applied to a mono mix of the two, whereas if one is processed with a reversed
pseudostereo setup to the other, the “diversity” of a true stereo effect will be
largely retained. It is a good idea when processing several sounds in a mix with
pseudostereo effects not to use identical pseudostereo processing on all, but to
use reverse setups and different numbers of bands to create more variety of
effect. Narrow setups are particularly recommended for material where an
exaggerated spread should be avoided, notably speech. Narrow setups also
tend to give a lower “phasiness” and better mono compatibility.
4.3 Basic Varieties of Pseudostereo
The basic varieties are:
PseudoStereo2.setup & PS2reverse.setup

PS2band2.setup & PS2reverse2.setup
2-band pseudostereo effects, panning bass and treble to opposite sides of the
stereo stage. A 6-band conventional graphic equalizer is also provided.
PStunableA.setup, PStunableAreverse.setup,
PStunableB.setup, PStunableBreverse.setup,
PStunableC.setup, PStunableCreverse.setup,
Very highly tunable pseudostereo where individual bands can be panned to
the left or the right to customize the stereo panning of different sound
components.
PS7band.setup, & PS7reverse.setup

PS7band2.setup, & PS7reverse2.setup
A 7-band pseudostereo effect, panning each of 7 bands alternately to the left
and to the right of the stereo stage. This effect is very wide, but not ideally
mono-compatible. A highly adjustable effect.
PShistoric.setup, PShistoricreverse.setup.
and to the right of the stereo stage. Not adjustable in frequency, giving a
diffused sound. This setup has good mono compatibility. It also provides 4
bands for normal EQ effects, which are preset as hiss and rumble filters for

reprocessing historic recordings.
PS10band.setup, PS10reverse.setup, PS10narrow.setup &

PS10revnarrow.setup
and to the right of the stereo stage. Adjustable in frequency, giving a diffused
sound, and in “normal” and “narrow” degrees of spread. This setup has good
mono compatibility.
PseudoStereo10X.setup, PS10Xreverse.setup, PS10Xnarrow.setup

& PS10Xrevnarrow.setup
and to the right of the stereo stage. This effect is very wide, much wider than the
previous 10-band effect, but not ideally mono-compatible. This effect is in some
ways the most spectacular pseudostereo effect. Not adjustable in frequency
PS14band.setup, PS14reverse.setup,
and to the right of the stereo stage. This gives a diffuse pseudostereo effect,
and reasonable mono compatibility, but is not spectacularly wide and tends to
sound rather more colored than other effects. Not adjustable in frequency. A
Baxandall equalizer is also provided.
PseudoStereo18.setup, PS18reverse.setup,
An 18-band pseudostereo effect, panning each of 18 bands alternately to the
left and to the right of the stereo stage. This gives the most diffuse
pseudostereo effect, and reasonable mono compatibility, but is not
spectacularly wide and tends to sound rather more colored than other effects.
PSVocals.setup
An adjustable pseudostereo effect where the spread is concentrated on the
vocal frequency band
All these pseudostereo effects are provided in a “normal” and a reversed

version, which simply has the equalization on the opposite channel to the
normal version, so that the left/right panning effect of different frequencies can
be reversed in the stereo stage.
Some of the pseudostereo effects also are also provided with “narrow” and
“reversed narrow” versions which are essentially the same as the above
versions except that the degree of stereo spread effect is reduced, for use when
a more subtle effect is required. Narrow setups are particularly recommended
for speech, where the normal spread generally sounds unnaturally wide.
All ten Q10 bands are used as a processing "bandgroup" in providing the
pseudo stereo effect for the tunable, Vocals, 7, 10X, 10 and 18 band varieties.

The 2-band varieties uses Q10 bands 7 to 10 as a bandgroup, the historic
variety uses Q10 bands 5 to 10 as a bandgroup, and the 14 band variety uses
Q10 band 3 to 10 as a pseudostereo bandgroup.
Varying all frequencies together
Be sure to ensure that the two stereo channels are strapped when the any
adjustments are made to pseudostereo effects.
All pseudostereo effects with the exception of the historic, 10X, 14 and 18 band
cases may have all bands moved up and down together. The procedure is to
select and drag all the “frequency” value windows only of the bandgroup (i.e.
all Q10 bands in the tunable, 7-, and 10-band designs, and Q10 bands 7-10 in
the 2-band designs). In this way, the operating frequencies of the pseudostereo
effect may be moved up or down, This gives a change in the pseudostereo
effect without altering its tonal balance. This often allows fine tuning to match
the effect to particular program material, so that the stereo stage and the
positions of frequency components within it are well balanced.
Separate control of pseudostereo bands
Additionally, the tunable, 2-, 7- and the 10-band pseudostereo setups allow
separate control of individual pseudostereo frequency bands. The details differ
in these three cases, which are dealt with individually.
2-band cases. (PseudoStereo2.setup, PS2reverse.setup, PS2band2.setup

and PS2reverse2.setup).
Be sure to ensure that the two stereo channels are strapped when the following
adjustments are made.
In this case, Q10 bands 1 to 6 are not used for the pseudostereo effect and may
be used for additional conventional equalization. As set up in the setup file, it
provides a 6-band graphic EQ with band centers from 40 Hz to 12 kHz, and
band gains may be adjusted up or down from the provided 0 dB flat setting.
The pseudostereo in this case is provided by Q10 bands 7 to 10. To switch the
pseudostereo effect in or out, select and click the 4 In/Out buttons of Q10 bands
7 to 10.
This pseudostereo effect permits independent adjustment of the frequency at

which bass signals are panned to one side and at which treble signals are
panned to the other side. To adjust the bass frequency, select and drag the

frequency value windows of Q10 bands 7 and 8 as desired. To adjust the treble
frequency, select and drag the frequency value windows of Q10 bands 9 and
10.
Be aware, however, that the pseudostereo effect will remain tonally neutral only
so long as the bass and the treble bands do not overlap too much. The graphic
display will tell you this - correct pseudostereo operation will occur if and only if
the two curves cross over at about a 0 dB level. If the cross-over point level is
significantly below 0 dB, the two bands overlap too much and tonal quality will
be altered.
The two types of 2-band effect differ in the steepness of crossover between left,
center and right positions, with the “band2” effect giving a less rapid crossover.
7-band case. (PS7band.setup, PS7reverse.setup, PS7band2.setup,

PS7reverse2.setup, PSVocals.setup).
This setup is recommended where the maximum width of stereo effect is

desired, but generally has the poorer mono compatibility. Like the 10-bandX
effect, this pseudostereo effect can sometimes show more undesirable side
effects on some material than many of the others, so should be monitored
carefully.
Frequency response of PSVocals.setup
The “7band2” effect differs from the “7band” effect only in that frequencies of left
and right panning are rather more widely spaced apart. By contrast, the
PSVocals case has the bands packed together over a narrow vocal frequency
range.

In this case, all ten Q10 bands are used for the pseudostereo effect. To switch
the pseudostereo effect in or out, select the In/Out buttons of all ten Q10 bands,
and then click anywhere within any of these buttons.
The frequencies of the pseudostereo effect may be adjusted up or down by

select-and-dragging all ten frequency value windows in Q10 bands 1 to 10.
The 7-band cases may also be used as the basis for a more flexible adjustment
of pseudostereo effect. The effect is divided into 4 bandgroups: Q10 bands 1-2,
Q10 band 4-6, Q10-bands 7 -9 and Q10 band 10. Any number of these 4
bandgroups may be switched in or out separately, and their frequencies
individually adjusted by selecting and dragging all frequency value windows
within a bandgroup, provided only that the bandgroups do not overlap too
much (i.e. provided that the crossover of left and right graph curves does not fall
significantly below 0 dB)..
10-band cases. (PS10band.setup, PS10narrow.setup, PS10reverse.setup,

PS10revnarrow.setup).
Generally speaking, this 10-band pseudostereo effect is the most subtle and
diffuse variety having wide flexibility of adjustment, recommended for when the
frequency components should not have marked stereo positioning, but just a
broad spread.
The pseudostereo in this case is provided by all ten Q10 bands. To switch the
pseudostereo effect in or out, select and click all ten In/Out buttons of Q10
bands 1 to 10,.
The frequencies of the pseudostereo effect may be adjusted up or down by

select-and-dragging all ten frequency value windows in Q10 bands 1 to 10,.
In these setups, the spreading effect may be confined to parts of the frequency
range only by switching out one or more bands. Any number of adjacent bands
may be switched out at either end of the frequency range, and an even number
of adjacent bands anywhere in the middle of the frequency range may be
switched out. Remaining adjacent groups of switched in bands may be varied
in frequency by selecting and dragging their frequency value windows. Tonal
neutrality will be retained provided that the bands do not overlap too much (i.e.
provided that the crossover of left and right graph curves does not fall
significantly below 0 dB)..

Tunable pseudostereo setups
PStunableA.setup, PStunableAreverse.setup
PStunableB.setup, PStunableBreverse.setup
PStunableC.setup, PStunableCreverse.setup
Frequency response of PStunableB.setup.
These pseudostereo setups allow tuning on particular frequency bands to the

left side or the right side of the image, and are useful particularly when one
wishes to synthesize a stereo effect where some chosen sounds in an
originally mono mix are on the left, some on the right and some in the middle.
These setups provide the means of doing this providing the sounds being
processed are separated enough in frequency..
The 4 bandgroups for these setups are:
Q10 bands 1 & 2 : narrow frequency band panned to left (right for “reverse”
setups)
Q10 bands 3 to 5 : wide frequency band panned to left (right for “reverse”
setups)
Q10 bands 6 to 8 : wide frequency band panned to right (left for “reverse”
setups)
Q10 bands 9 & 10 : narrow frequency band panned to right (left for “reverse”
setups)
Any one or more bandgroups may be adjusted in frequency by selecting the

frequency value windows of that bandgroup(s), and dragging to either side.
The bandgroups may be switched in or out individually, provided that no two

“in” bandgroups overlap too much in frequency range. Excessive overlap can
be seen from the graphical display by the crossover of left and right curves for
adjacent bands differing (by more than say a dB) from 0 dB. It is normally a

good idea for two adjacent panned bands to be to opposite sides of the stereo
stage - since this allows much more overlap of bands than the case where they
are panned the same way.
The A, B and C versions of the setups differ only in the chosen initial
frequencies and in which bandgroups are initially switched in. Since, apart
from the initial center frequencies, their bandgroups are identically set up, they
can all be used with frequency tuning to achieve identical effects, but this it is
easiest to choose the version closest to what one is trying to achieve as a
starting point.
The A versions of the tunable pseudostereo setups are ideal for achieving a
2-band pseudostereo effect, where one wishes to be able to select using a
narrow or wide frequency band after tuning the pseudostereo panning in
frequency. In the A version, only two bandgroups are switched in when loaded
- the wide frequency bands. By selecting all 10 In/Out buttons and switching,
the wide bands are switched out and narrow bands tuned to the SAME
frequencies are switched in. The idea is to tune the frequencies of bands 1 to 5
TOGETHER by selecting all their frequency value windows and dragging. One
similarly tunes the frequencies of bands 6 to 10 TOGETHER by selecting all
their frequency value windows and dragging.
Having chosen the frequencies at which the desired sounds are panned to left
and to right, one can then choose whether to have narrow or wide frequency
range for the panning by selecting the In/Out buttons of bands 1 to 5, and
clicking on one of them. This will alternate between a narrow and a wide band
at the same frequency. The same procedure can be used independently to
select a narrow or wide frequency range for the panning in bands 6 to 10.
The B and C versions of the tunable pseudostereo setups are intended as a

starting point for a 4-band tunable pseudostereo effect. They all have the same
frequency bands panned to the same positions when loaded. The only
difference is the order of narrow and wide bands.
In the B versions, the lowest and highest bands have narrow frequency range,
and the mid-low and mid-high bands have wide frequency range. In the C
versions, the lowest and highest bands have wide frequency range, and the
mid-low and mid-high bands have narrow frequency range.
Inflexible pseudostereo setups
PseudoStereo10X.setup, PS10Xreverse.setup,
PS10Xnarrow.setup, PS10Xrevnarrow.setup,
PShistoric.setup, PShistoricreverse.setup
PS14band.setup, PS14reverse.setup

PseudoStereo18.setup, PS18reverse.setup
These pseudostereo setups are inflexible in offering neither frequency

adjustment nor spread adjustment, but in compensation offer a remarkably
large number of pseudostereo bands, respectively, 10, 10, 14 and 18, for a
much more diffuse effect than setups with a small number of bands, and less
likelihood of individual sounds having different frequency components “split”
between different stereo positions. They are suited to different applications.
The “10X” pseudostereo setups provide a 10 band pseudostereo with a very

wide stereo stage for when spectacular spread is desired without excessive
phasiness. However, mono compatibility is not particularly good.
The 18 band setups provide a very diffuse sound, but not the widest stage, but
have fairly good mono compatibility, and is suitable for use in broadcast
applications when a general-purpose pseudostereo effect is required, but is not
confined to that application.
The 14-band setups are similar to the 18-band case, except that they only have
14 pseudostereo bands. However, the pseudostereo algorithm now uses as
bandgroup Q10 bands 3 to 10, which leaves Q10 bands 1 and 2 free for
conventional equalization. As loaded, bands 1 and 2 are configured as
Baxandall bass and treble controls, and alterations of their gains provides
respective adjustment of bass and treble. This setup should be used where one
wishes to do EQ and pseudostereo processing in one pass.
The “historic” setups are similar to the 14- and 18-band pseudostereos, except
they have only 10 pseudostereo bands, implemented by Q10 bands 5 to 10.
This leaves Q10 bands 1 to 4 free for conventional equalization, when the
power of a 4 band parametric EQ is needed. As loaded, band 1 is configured
as a high-pass filter for filtering out bass rumble, and Q10 bands 2 to 4 form a
bandgroup for a tunable psychoacoustic hiss filter. By selecting the frequency
value windows of bands 2 to 4 and dragging, the frequency of action of the hiss
filter may be varied. As loaded, therefore, this setup may be used for old historic
mono material both to achieve a pseudostereo effect and to filter hiss (or 78
rpm record scratch noise) and rumble in one EQ pass. The hiss filter has been
designed for minimum subjective tonal degradation for a given degree of hiss
reduction.
HINT: In the historic and 14-band setups, you can see the EQ effect on the
graphic display by selecting the bandgroup In/Out buttons of the pseudostereo
bandgroup and clicking on one of them. This will remove the pseudostereo and
allow you to see the EQ effect. Clicking again will bring in the pseudostereo
effect again.

Crossover setups
The “crossover” setups are all designed to split incoming mono signals into two
sharply separated bands. Typically, one is in the left output channel, the other
in the right. The crossover rate between the bands is of the order of 50 dB per
octave. The crossover points are at -3dB so that the total energy in the left and
the right channel is roughly flat.
The crossovers are designed so that simply selecting all ten frequency value
windows & dragging moves the crossover frequency or frequencies up and
down.
These crossover setups can be used for an extreme form of “pseudostereo”

where everything in one frequency band is on the left, everything in another
frequency band is on the right, and everything in yet another frequency band
may be in the middle. With crossover frequencies matched to the musical
content, this can place instruments in different frequency bands in any of three
positions.
The mono compatibility of the crossover effect cannot be guaranteed because

of response irregularities in the crossover region due to phase addition and
subtraction. However, in cases where the crossover is very sharp, this will only
affect a narrow frequency range and so in practice may be acceptable.
Note that all adjustments of “crossover” effects must use strapped channels. If a
file is to be processed, the file should be a mono signal copied as a STEREO
file, since stereo output files can only be generated from stereo input files.
crossover1.setup
This simply splits the incoming signal into a brickwall low-pass filter on the left
channel and a brickwall high-pass filter on the right channel. This setup uses
as bandgroup Q10 bands 1-5, placing bass on left and treble on right. As
loaded crossover frequency is 700 Hz, but it may be select and dragged to any
other frequency up to several kHz, to tune what band is fed to each channel.
Q10.setup.e-book Ch.5 - Crossover setups Page 31

Frequency response of crossover1.setup.
Bandgroup Q10 channels 6 to 10 provides an identical crossover except that

treble is sent to the right and bass to the left. One may switch between the two
crossovers by selecting all ten in/out buttons and clicking on one of them.
crossover2octave.setup, crossover3octave.setup,
crossover4octave.setup
These use all 10 Q10 bands as a bandgroup, and put low and high frequencies
on the right channel and middle frequencies on the left. The two crossover
frequencies are about 2, 3 and 4 octaves apart in the respective setups, with
the middle band centered at 1 kHz. The overall frequency may be moved up or
down by selecting all ten frequencies and dragging.
Frequency response of crossover4octave.setup.
An example of use is to use say the crossover4octave case to put vocals of a

mono recording on the left, and the bass line and cymbals on the right.
crossoverLCR.setup, crossoverLCR2.setup
These setups put low frequencies below a first low crossover frequency on the
left, high frequencies above a second high crossover frequency on the right,
and everything between the two crossover frequencies in the center at equal
levels in both channels. The LCR setup has the spacing between crossover

frequencies 4 octaves, and the LCR2 setup uses 3 octave spacing.
The response of each channel steps down 3 dB over the middle band to
ensure that the total energy of the 2 channels remains constant.
Frequency response of crossoverLCR.setup.
The first low crossover frequency is controlled by bandgroup Q10 bands 1 to 5,

and may be adjusted up or down by selecting all 5 frequency value windows of
this bandgroup and dragging them. The second high crossover frequency is
controlled by bandgroup Q10 bands 6 to 10, and may be adjusted up or down
by selecting all 5 frequency value windows of this bandgroup and dragging
them.
Please note that at middle frequencies, the phase response on the 2 channels
is not identical, so that there will be some “phasiness” effects and imperfect
mono compatibility.
crossoverLC.setup, crossoverCR.setup
These two setups are identical except that the channels are the opposite way
round.
The LC setup when opened has bandgroup Q10 bands 1 to 5 in, and
bandgroup Q10 bands 6 to 10 out. It has the effect of putting frequencies below
a first crossover frequency on the left, and frequencies above that crossover
frequency in the center. The crossover frequency may be moved up or down by
selecting the 5 frequency value windows of Q10 bands 1 to 5 and dragging.
If all 10 in/out buttons are selected and clicked, so that Q10 bands 6 to 10 are in
and bands 1 to 5 are out, then the LC setup has the effect of putting frequencies
above a second crossover frequency on the left, and frequencies below that
crossover frequency in the center. The crossover frequency may be moved up

or down by selecting the 5 frequency value windows of Q10 bands 6 to 10 and
dragging.
The CR setup is identical except that panning to the left is replaced by panning
to the right throughout.

Bandlimiting Tools
Many audio signals are destined to be heard via systems or transmission
channels of inferior quality, and it is often useful; to know what the results of a
mix will be like when heard through such limited quality. This allows decisions
to be made about whether important parts of the mix become inaudible, and
permits corrective action to be taken if necessary. Three of the setups provided
are particularly useful here, They are very similar except for the precise choices
of cut-off frequencies in the bass and treble:
telephone.setup. As its file name suggests, this simulates a typical

telephone bandwidth of 300 Hz to 3 kHz, using a very steep “brickwall” cut-off
outside this band. Unlike many typical telephones, however, it is flat within this
band. This setup is useful both for determining the effect of program material
likely to be heard down telephone lines and for simulating a “telephone” effect
when needed for drama, commercials or an effect in music.
telephone2.setup. This also simulates a typical telephone bandwidth of 300

Hz to 3 kHz, using a rather less steep cut-off outside this band. Unlike many
typical telephones, however, it is flat within this band. However, Q10 bands 1
and 2 allow extra equalization to be provided. These two bands are set to flat
as provided, and if their gains are altered, they provide Baxandall bass and
treble controls.
AMradio.setup. As its file name suggests, this simulates a typical received

AM radio bandwidth of 100 Hz to 5 kHz, using a very steep cut-off outside this
band. Unlike many typical AM radios, however, it is flat within this band.
AMradio.setup provides the steepest brickwall filtering for the best effect. This
setup is useful both for determining the effect of program material likely to be
heard on AM radios and for simulating a “radio” effect when needed for drama,
commercials or an effect in music.
AMradio2.setup. This gives a less sharp cut-off simulation of AM radio

bandwidth 100 Hz to 5 kHz. However, Q10 bands 1 and 2 allow extra
equalization to be provided. These two bands are set to flat as provided, and if
their gains are altered, they provide Baxandall bass and treble controls.
speech.setup. This setup provides very steep “brickwall” cut-offs at 130 Hz

and 10 kHz, and a flat response in between. It is designed for limiting the
bandwidth of speech in applications such as multimedia or some broadcast
applications where an extended speech bandwidth may be undesirable.
Typically, this setup may be used when speech intelligibility and clarity is more
important than true fidelity, and where extended bass would be wasted on tiny
Q10.setup.e-book Ch.6 - Bandlimiting Page 35
loudspeakers.
speech2.setup. This setup provides slightly less sharp cut-offs at 130 Hz and
10 kHz, and a flat response in between. However, Q10 bands 1 and 2 allow
extra equalization to be provided. These two bands are set to flat as provided,
and if their gains are altered, they provide Baxandall bass and treble controls.
Broadcast44.1.setup, Broadcast48.setup. This provides, for files at the

respective 44.1 and 48 kHz sampling rate, bandlimiting to from 30 Hz to 15 kHz
used for FM broadcasting and TV work. It can be used as an antialiasing filter
prior to sampling rate conversion to the widely used broadcast sampling rate of
32 kHz. Not adjustable.
How to adjust these setups
telephone.setup, AMradio.setup, speech.setup.
These three setups all allocate the Q10 bandgroup bands 1 to 5 for the
high-pass (i.e. bass cut) filter, and the Q10 bandgroup bands 6 to 10 for the
low-pass (i.e. treble cut) filter.
The high-pass filter and low-pass filter may be used individually or together.
High-pass filter. This uses the bandgroup Q10 bands 1 to 5. To switch the
high-pass in or out, select the 5 in/out buttons of Q10 bands 1 to 5, and click on
any one of these buttons. To adjust the frequency of cut-off of the high-pass
filter up or down, select the 5 frequency value windows of Q10 bands 1 to 5,
and click and drag the frequency on any one of them.
Low-pass filter. This uses the bandgroup Q10 bands 6 to 10. To switch the
low-pass in or out, select the 5 in/out buttons of Q10 bands 6 to 10, and click on
and click and drag the frequency on any one of them. Note from the graphical
display that the frequency range over which the brickwall lowpass remains
reasonably flat varies with the cut-off frequency setting, and for best results it is
advisable to start with the setup with the low-pass cut-off frequency closest to
the one desired.
telephone2.setup, AMradio2.setup, speech2.setup.
These three setups all allocate Q10 bands 1 and 2 to the respective bass and
treble of a Baxandall tone control, and allocate the Q10 bandgroup bands 3 to
6 for the high-pass (i.e. bass cut) filter, and the Q10 bandgroup bands 7 to 10

for the low-pass (i.e. treble cut) filter.
The high-pass filter and low-pass filter may be used individually or together.
High-pass filter. This uses the bandgroup Q10 bands 3 to 6. To switch the
high-pass in or out, select the 4 in/out buttons of Q10 bands 3 to 6, and click on
and click and drag the frequency on any one of them.
Low-pass filter. This uses the bandgroup Q10 bands 7 to 10. To switch the
low-pass in or out, select the 4 in/out buttons of Q10 bands 7 to 10, and click on
filter up or down, select the 4 frequency value windows and the four Q value
windows of Q10 bands 7 to 10, and click and drag the frequency and Q
together on any one of them. Dragging frequency alone will not give a flat
response before cut-off as the frequency is varied. In practice, the low-pass
filter will work well for “-3 dB” cut-off frequencies in the range 2 to 13 kHz
approximately.
Alternative low- and high-pass filters.
Alternative low- and high-pass filters with a slightly gentler cut off rate are
provided in EQtools.setup. In this case, the high pass filter uses the
bandgroup of Q10 bands 5 to 7, and may be switched in and out by selecting
and clicking the 3 buttons of this bandgroup, and the cut-off frequency may be
varied by selecting and dragging the 3 frequency value windows of this
bandgroup. In this case, the low-pass filter uses the bandgroup of Q10 bands 8
to 10, and may be switched in and out by selecting and clicking the 3 buttons of
this bandgroup, and the cut-off frequency may be varied by selecting and
dragging the 3 frequency value windows and the three Q value windows of this
bandgroup. For the low-pass filter, dragging frequency alone will not give a flat
response before cut-off as the frequency is varied.
Hiss filtering. The above low-pass filters can be used to reduce hiss on hissy
material, but the user is cautioned that this is generally not the most effective
form of filtering for reducing audible hiss with minimum side effect. This is
because the ears are most sensitive to the frequency region around 4 kHz, with
a low sensitivity to very high frequencies. A low-pass filter removes all the very
high frequencies, despite the fact that the ears are less sensitive to hiss at
these highest frequencies. A better strategy is to use filters designed to reduce
or remove only those frequencies at which hiss is most audible, and to leave
lower and higher frequencies alone. Such filters are provided in other setups
as described below.

Also, very steep-cut low-pass filters are found to give the remaining hiss an
unpleasant “bright” and edgy quality that is sometimes more objectionable than
leaving hiss in. Therefore, the use of low-pass filters to remove hiss is not
generally the preferred option subjectively.

Other EQ Tools
7.1 Superparametric EQ
Parametric equalizers, while extremely useful, rarely provide precisely the

subjective adjustments of sound really wanted by recording and audio
production engineers, but only crudely approximate the desired effect. The ears
are surprisingly sensitive to small variations in frequency response shape, and
small unwanted boosts or cuts away from the desired frequencies can be
unpleasantly audible.
Conventional parametric “bell” boosts and cuts not only boost and cut the
desired frequency band, but they also affect frequencies well away from the
desired frequencies. This side-effect at more distant frequencies is a cause of
unpleasant coloration and tonal effects with parametric equalization.
Several setups provided here provide “superparametric” boosts and cuts that
are more precise in their action, affecting only the desired frequency range and
having virtually no effect well away from that range. When used to cut a desired
frequency band, the result is less tonal dulling of other frequencies, and when
used to boost a desired frequency band, the result is less tonal alteration of the
rest of the sound.
Frequency response of superparametric boost.
Frequency response of ordinary parametric boost.
To hear the difference between parametric and superparametric boosts, load

Q10presenceA.setup in setup A, and load Q10presenceB.setup in setup
B. Q10presenceA.setup is a 9.3 dB superparametric boost at 3.5 kHz,
Q10.setup.e-book Ch.7 - Other EQ Tools Page 39
whereas Q10presenceB.setup is an ordinary 9.3 dB parametric boost at 3.5
kHz, carefully matched in the boost band. Switching between setup A
(superparametric), setupB (parametric) and bypass in preview mode, on
speech, it will be heard that the superparametric EQ is tonally more natural
than the parametric.
7.1.1 Adjusting superparametric EQ.
PresenceA.setup.
This provides 5 alternative degrees of boost or cut at the presence frequency of

3.5 kHz.
The bandgroup Q10 bands 1&2 provide +6.2 dB boost at 3.5 kHz.
The bandgroup Q10 bands 7&8 provide 3.1 dB cut at 3.5 kHz.
The bandgroup Q10 bands 9&10 provide 6.2 dB cut at 3.5 kHz.
Select the In/Out button of the desired bandgroup to obtain the desired degree
of boost or cut.
To vary the center frequency, select all frequency value windows and drag the
frequency to either side as desired - the value windows show the selected
frequency. To vary the width of the superparametric EQ, select all Q value
windows and drag the Q to either side as desired.
PresenceF.setup.
A defect of the previous setup is the crude set of values of gain provided -- only
6 values (including flat 0 dB) in 3.1 dB steps. If a finer and wider range of
values is desired, presenceF.setup may be used instead, although selection
of gain is much less straightforward. Here also only a limited range of gains is
provided, but other gains may be achieved by switching two or more
bandgroups in. The gain may by altered in 2 dB steps between -12 dB and + 12
dB.
5 bandgroups provide 5 alternative degrees of boost or cut at the presence

frequency of 3.5 kHz.
The bandgroup Q10 bands 1&2 provide +12 dB boost.
The bandgroup Q10 bands 3&4 provide +6 dB boost.
The bandgroup Q10 bands 5&6 provide -2 dB cut .
The bandgroup Q10 bands 7&8 provide -4 dB cut.
The bandgroup Q10 bands 9&10 provide -6 dB cut.

To obtain the desired degree of boost or cut, switch in the following
bandgroups:
+12 dB, bandgroup 1&2 only.

+10 dB, bandgroups 1&2 and 5&6 only. (10 dB = 12 dB - 2 dB)
+ 8 dB, bandgroups 1&2 and 7&8 only. (8 dB = 12 dB - 4 dB)
+ 6 dB, bandgroup 3&4 only.
0 dB, all bandgroups out.
- 2 dB, bandgroup 5&6 only.
- 8 dB, bandgroups 5&6 and 9&10 only. (-8 dB = -6 dB - 2 dB)
-10 dB, bandgroups 7&8 and 9&10 only. (-10 dB = -6 dB - 4 dB)
-12 dB, bandgroups 5&6, 7&8 and 9&10 only. (-12 dB = -6 dB - 4dB - 2
dB)
To vary the center frequency, select all frequency value windows and drag the
frequency to either side as desired - the value windows show the selected
frequency. To vary the width of the superparametric EQ, select all Q value
windows and drag the Q to either side as desired.
7.1.2 Uses of superparametric EQ.
The greater ability of superparametric EQ to select a band of frequencies

without affecting neighboring frequencies has a variety of different uses.
One application is to make a sound “buried” in a mix more audible, by

selectively boosting its most prominent frequencies. For example, buried vocals
in live recordings can often be “pulled out” by boosting frequencies somewhere
around 1.5 or 2 kHz. Using superparametric EQ, this can be done with less
effect on the rest of the mix.
A converse application is to pull down an over-prominent sound in a mix by

pulling down its most prominent frequencies using a superparametric cut,
again with lower risk of damaging the rest of the mix.
A more sophisticated use is to improve a mix where several sounds have

similar frequency balances which get in each other’s way. By selectively
boosting some sounds and cutting others in the same frequency band using a
superparametric EQ before mixdown, it is possible to alter the relative audibility
of individual sounds in the mix while having very little subjective effect on the
overall sound of the mix. In moderation, even applying a superparametric boost
in one stereo channel and a complementary cut on the other can sometimes
rescue a marginal mix that has already been done, if the sounds affected are

towards different sides of the stereo stage - although overdoing this will
damage stereo quality.
A further important use of superparametric EQ is for filtering out unwanted

noises, including rumble noise, noises due to air conditioning, and hiss. This
can be used in much the same manner as parametric EQ, except that the effect
on other sounds is lessened. A general hint here is to locate the problem
frequency by setting up a superparametric boost, with fairly narrow width, and
to tune it in frequency until the annoying noise is most audible. You have then
located the frequency at which to apply a superparametric cut. When a cut is
applied, it is worth also tuning the width of the superparametric notch so that it
is as narrow as possible consistent with the desired degree of reduction of the
unwanted noise. This will then be set up to reduce the unwanted noise with a
minimum of tonal effect on the rest of the sound.
When a deep notch is required as a noise filter, one can use the supernotch
(Bandgroup Q10 bands 3 & 4) of the EQtools.setup . This may be adjusted in
frequency by selecting the 2 frequency value widows and dragging to either
side as required, and may be adjusted in width by selecting the two Q value
windows and dragging to either side as required.
Superparametrics used in this way can be very effective hiss filters - far more
effective than using low-pass filters. However, one warning is in order. Some
less good monitoring speakers may well have prominent emphasis frequency
bands, and there is a risk with superparametric dips or notches that one may be
tuning out a loudspeaker resonance rather than a true peak in the audible
noise. Use of good neutral monitoring loudspeakers will minimize this risk, but
it is a wise precaution sometimes to check the results of mixes done with
superparametric filters in other good monitoring situations.

7.2 Deep supernotch
Supernotch.setup
Frequency response of Supernotch.setup at 1 kHz.
These supernotch settings are intended to remove whistles or highly pitched

interference.
This provides a deep narrow tunable notch with about 46 dB attenuation, using
as bandgroup Q10 bands 1 to 4. Its frequency may be tuned by selecting the 4
frequency value windows and dragging. The bandgroup Q10 bands 5 to 8
provides a second similar supernotch tuned to twice the frequency, which may
be switched in if there is a second harmonic present, or tuned to a second
independent whistle frequency. The bandgroup Q10 bands 9 & 10 provides a
15 dB attenuation supernotch set to three times the frequency for the case
where a third harmonic component is also present, or where another
frequency requiring less attenuation needs to be removed.
All frequencies may be dragged up and down together if all 10 frequency value
windows are selected.
7.3 Psychoacoustic noise filters.

Frequency response of noisefilters1.setup
While superparametric notches are excellent for reducing noises that

perceptually are concentrated around a discrete frequency, it is common to
encounter material with broadband rumble or hiss noise where
superparametric notches are not adequately effective for reducing noise. In this
situation, low-pass filters are needed to remove hiss and high-pass filters to
reduce rumble. But psychoacoustically, steep cut filters are far from optimum in
this application because they apply an unnecessary degree of filtering to less
audible noise components. The setups noisefilters1.setup and
noisefilters2.setup provide a lowpass and a high-pass filter much better
matched to human psychoacoustics. As may be seen from the filter curves on
the Q10 graphic display, these filters have several characteristics found to
improve subjective tonal quality: (i) they rise about 1.5 dB before the cut-off,
(ii) they fall to a deep notch , and (iii) they rise again to a reduced level of
about -6dB outside the main band before finally falling away again. This
characteristic is very effective at reducing noise while still leaving enough of the
high frequencies present (in the low-pass case) to give a much more natural
sound quality than a simple roll-off. The two setups differ only in that the “1”
filters have a shallower notch than the “2” filters.
The lowpass hiss noise filter uses bandgroup Q10 bands 8 to 10, and its
frequency may be altered by selecting the 3 frequency value windows and
dragging to either side as required, and the low-pass filter may be switched in
or out by selecting the 3 In/Out buttons of bandgroup 8 to 10 and clicking on
one of them.
The high-pass bass noise filter uses bandgroup Q10 bands 5 to 7, and its
frequency may be altered by selecting the 3 frequency value windows and
dragging to either side as required, and the low-pass filter may be switched in
or out by selecting the 3 In/Out buttons of bandgroup 5 to 17 and clicking on
one of them.
Additionally, two superparametric dips are provided for additional selective

noise filtering in noisefilters1.setup and noisefilters2.setup. One giving a 6 dB
dip uses bandgroup Q10 bands 1 & 2, the other giving a 3 dB dip uses
bandgroup Q10 bands 3 & 4. They may be tuned individually in frequency by
selecting the respective two frequency value windows and dragging to either
side, or they may be tuned together by selecting all 4 frequency value windows

if both are used together to provide a 9 dB dip. The width of the
superparametric dip may be altered by selecting 2 or all 4 Q value windows
and dragging to either side.
7.4 Harmonic Comb Filters
HarmonicComb1.setup, HarmonicComb2.setup,
HarmonicCombOdd.setup, HarmonicComb5.setup
Frequency response of HarmonicComb1.setup
These effects are comb filters designed to notch out the fundamentals and first
few harmonics of a particular frequency, such as a 60 Hz line power frequency
interference or an acoustic “whine” due to high-speed motors.
HarmonicComb1.setup notches out a fundamental frequency (seen in the

top frequency value window) and the 2nd to eighth harmonic. Notch
attenuation is around 15 to 18 dB.
HarmonicComb2.setup is the same as HarmonicComb1.setup except that

the notch depth is only around 9 dB, for use when less attenuation of the pitch
is required.
HarmonicComb5.setup is similar to HarmonicComb1.setup except that only

harmonics up to the fifth are removed, and the notch shape is more precisely
controlled and narrower, in order to have less audible effect on wanted signals.
The fundamental to 5th harmonic each occupy a bandgroup comprising 2 Q10
bands, respectively 1&2, 3&4, 5&6, 7&8, 9&10 for the fundamental and second
to fifth harmonics. Individual notches may be switched out by switching out its
bandgroup.

HarmonicCombOdd filters out the fundamental and odd harmonics only,
from third to fifteenth harmonic.
In all cases, the fundamental frequency may be tuned up or down by selecting

all 10 frequency value windows and dragging. When the setups are opened,
the fundamental frequency is the US power frequency of 60 Hz, useful for
attenuating recorded hum components. The setups may be modified to the
European 50 Hz power frequency by European users by selecting all
frequency value windows and dragging so that the first 8 frequency value
windows are a multiple of 50 Hz.
The comb filters have some tonal effect on the sound, and are provided as an
occasionally useful emergency “sound cleanup” method. They will not work
when the pitched interference is a “buzz” with mainly very high harmonics.

Multimedia Production Setups
for 22kHz and 11 kHz
Postcompensation for Sound Designer II sampling rate conversion
22.05postcomp.setup, 22.254postcomp.setup,
11.025postcomp.setup
Frequency response of postcompensation filter 22.05postcomp.setup for Sound Designer II

sampling rate conversion to 22.05 kHz sampling rate.
Frequency response of postcompensation filter 11.025postcomp.setup for Sound Designer II

sampling rate conversion to 11.025 kHz sampling rate.
These setup files are intended to compensate for the non-flat frequency
response of the sampling rate conversion algorithm provided with Sound
Designer II when converting to the multimedia sampling rates of 22.05 kHz
Q10.setup.e-book Ch.8 - Multimedia setups Page 47

(PC) or 22.254 kHz (MAC) or 11.025 kHz from files sampled at 44.1 kHz or 48
kHz. They typically increase the audio bandwidth at the final sampling rate by
25%, and with a generally flatter response up to cut-off.
Measurement in the digital domain shows that the Sound Designer II sampling
rate conversion from 44.1 kHz to 22.05 kHz causes a frequency response
which is about 1 dB down at 7 kHz, about 3.5 dB down at 8 kHz, about 11 dB
down at 9 kHz and around 30 dB down at 10 kHz. This rolled-off frequency
response will cause a dull sound in multimedia applications. These frequency
responses occur an octave lower when a further sampling rate conversion is
made from 22.05 to 11.025 kHz sampling rates using the Sound Designer II
sampling rate converter.
These setups are intended to compensate for this droop by post-processing the
sample-rate converted files at the final sampling rate.
The method of using these setups is as follows.
(i) Use one or more stages of Sound Designer II sample rate conversion to
convert your original audio files to the desired sampling rate of 11.025, 22.05 or
22.254 kHz. If you need to use more than one stage of conversion to get to the
desired rate (the Sound Designer II conversion will only go down by a
maximum factor 0.5 in one stage of conversion), arrange that first you convert to
twice the desired sampling rate, and then convert by a ratio 0.5 as the last step.
This minimises any effects of cascaded frequency response defects when
doing several stages of conversion. For example, when converting from 48 kHz
sampling rate to 22.05 kHz, convert to 44.1 kHz in the first stage and from 44.1
to 22.05 kHz in the second stage. During this process maintain the file resoltion
at 16 bits.
(ii) Then equalise the final converted file using one of the above 3 setup files,
i.e. the one with the indicated sampling rate in kHz. For example, use the
22.05postcomp.setup to equalise files converted to 22.05 kHz sampling rate.
Use of these setup files after sampling rate conversion on Sound Designer II
will extend the frequency response to be flat to above 9.9 kHz at sampling rates
of 22.05 or 22.254 kHz, and to 4.9 kHz at a sampling rate of 11.025 kHz. This
improves the -3dB bandwidth by about 25%, e.g. from about 8 kHz to above 10
kHz.
Although these setup files produce massive high frequency boosts

approaching 25 dB to compensate for the frequency response limitations of
Sound Designer II sampling rate conversion, they only affect the highly
attenuated high frequency energy, so are normally unlikely to cause overload
problems. However, you should check after processing that no overload is
indicated on the warning lights above the level meters. If overload is indicated,

undo the processing, reduce input gain levels slightly, and process again.
Warning: these setup files are matched to the frequency response attributes
of the Sound Designer II sampling rate converter, and should not be used with
any other sampling rate conversion process, or at any sampling rates not
recommended above.
An additional important warning (yes, two in a row):
You will find that these setups produce very little improvement in sound when
played back over the Sound Designer II playback system. This is because
Sound Designer II playback of files not at the standard 44.1 or 48 kHz sampling
rate has an extremely non-flat frequency response, typically falling rapidly
above 3 kHz for 22 kHz files. This, however, is not a fault in the files
themselves, and the improved frequency response will be heard if files are
monitored via any decent multimedia playback system.
For this reason, you are advised not to make quality judgments on files at
sampling rates other than 44.1 kHz or 48 kHz when monitored via the Sound
Designer II playback of these files. For this reason, you may prefer to do all but
the final stage (i.e. peak level adjustment) of post production at a sampling rate
of 44.1 kHz, at which rate, Sound Designer II monitoring is not misleading.
You may monitor your 22 or 11 kHz files properly by simply saving the file in the
SDII format (and make it an 8-bit file, either through Save As... or Save a
Copy... in SDII 2.7 with the Dithering Off (Use Dither should be unchecked), or
use WaveStrip to truncate the file so that it is an 8-bit file). Using SoundHack,
you can then open the file and export it as a .sfil file, which is a standard Mac
sound file that you can doubleclick to hear through the Macintosh.
An alternative is to save copies as a Macintosh SND Resource or AIFF file

using the Save a Copy... command, and then playing these files back within
your authoring environment via your Macintosh’s audio playback via an
external high-quality monitoring system.
multimedia22.setup, multimedia11.setup

Frequency response of multimedia11.setup (bandgroup 6-10 only switched in)
The “22” setup file is simply a brickwall low-pass filter cutting off between 10 Hz
and 11 kHz. It is essentially flat up to 10 kHz, but falls away very rapidly above
that frequency. The “11” setup is similar except that it is essentially flat up to 5
kHz and falls away rapidly at and above 5.5 kHz. These setups have two
applications:
(i) to monitor the sound of files at 44.1 or 48 kHz as they will sound when
passed through the bandwidth of a 22 or 11 kHz multimedia sampling rate, and
(ii) to limit the bandwidth of a 44.1 or 48 kHz sound file before subsequent
processing for the case when it is intended to be converted to a 22 or 11 kHz
sampling rate after further processing. This is a useful thing to do for two
reasons: (1) the sound heard at all subsequent stages of processing will have
the multimedia bandwidth, so that better production decisions on sound can be
taken,
and (2) the bandlimiting will generally improve the sound of any sampling rate
conversion subsequently used by removing high “aliasing” frequencies that
can degrade the sound.
As loaded, the brickwall filtering is provided by bandgroup Q10 bands 6 to 10.

However, by switching an additional copy of the brickwall filter in bandgroup
Q10 bands 1 to 5 in, the cut-off rate can be made extremely steep at the
expense of only a small-degree of unflatness of in-band frequency response. In
fact this cut-off is so steep that sampling rate conversion from 44.1 kHz to 22.05
kHz can be achieved after this filtering simply by discarding every second
sample of the output signal file. It is hoped that a simple processing tool to do
this will be provided in the future, which will allow the Q10 to be used for
processing at 44.1 kHz for producing multimedia files at 22.05 kHz.

Distortion Effects
The following setups produce intentional creative distortion
effects. They will work best if the input sound file is first of
all passed through a dynamic compression process.
E-guitar1.setup, E-guitar2.setup, E-guitar1PS.setup,

E-guitar2PS.setup
These effects produce distortion of a kind that works particularly well with
electric guitars, although creative experimentation is encouraged with this
effect on keyboards, bass lines, or even vocals! As loaded, the first E-guitar
effect produces a distortion effect that retains a lot of the clarity of the original
sound, whereas the second E-guitar effect is much more dirty and “heavy
metal/grunge/grrrage/etc”.
The E-guitar distortion effect is highly adjustable and tunable. The actual
distortion itself is produced by bandgroup Q10 bands 1 to 4, and the
high-frequency content of the distortion is tamed by a lowpass filter bandgroup
Q10 bands 5 & 6.
The effect of particular adjustments is as follows:
The distortion quality is adjusted by selecting and dragging the frequency value
windows of Q10 bands 1 to 4. This selects the frequencies in the original sound
that are subject to distortion, and may be tuned to get the most desirable effect
from a particular instrument or sound. With bass guitar, for example, generally a
frequency in the low hundreds should be used, whereas electric guitar works
best with from a few hundred to two or three thousand Hz, depending on the
desired effect.
The filter may be separately tuned in frequency by selecting and dragging the
frequency value windows of bandgroup Q10 bands 5 and 6, and adjusted for
less or more “toppy”, or treble, distortion.
The distortion may be switched in and out without affecting the filtering by
selecting and clicking the in/out buttons of Q10 bands 1 to 4.
Q10 bands 7 to 10 are available for any additional EQ of the user’s choice.
If one likes the distortion quality but wishes to reduce its amount, reduce the
input gains, and increase the output gains to obtain the required level.
Q10.setup.e-book Ch.9 - Distortion effects Page 51

The PS versions of the setups are identical except that a pseudostereo effect is
added in bandgroup Q10 bands 7 to 10 to spread an input mono sound in the
stereo stage. As with all pseudostereo effects, this will process a sound file with
stereo output only if the input file is a stereo file with identical “double-mono”
channels.
E-guitar1flat.setup, E-guitar2flat.setup
These effects are guitar distortion effects similar to the previous ones, except
that the low-pass filtering is applied only to the distortion, leaving the original
undistorted part of the guitar sound with a flat frequency response.
This effect uses all 10 Q10 bands, and the distortion-producing bandgroup is
bands 4 to 7.
The distortion quality is adjusted by selecting and dragging the frequency value
windows of Q10 bands 4 to 7. This selects the frequencies in the original sound
that are subject to distortion, and may be tuned to get the most desirable effect
from a particular instrument or sound. With bass guitar, for example, generally a
frequency in the low hundreds should be used, whereas electric guitar works
best with from a few hundred to two or three thousand Hz, depending on the
desired effect.
If one likes the distortion quality but wishes to reduce its amount, reduce the
input gains, and increase the output gains to obtain the required level.
Badtelephone.setup
The kind of distorted telephone sound one hopes not to get in real life! Useful
for simulating historic “aircraft cockpit speech” and the like. Works best if the
sound file has been first processed to compress the dynamics and maximize its
level.
Q10.setup.e-book Ch.9 - Distortion effects Page 52

Psychoacoustic Stereo Panning
The following setups allow mono sounds to be panned in the stereo stage with
a more spacious and “wide” effect than ordinary stereo panning, while retaining
a reasonable degree of compatibility for mono listeners. They can be used to
create more lively stereo mixes.
HalfLeft.setup, HalfRight.setup,
HyperLeft.setup, HyperRight.setup
Half-left frequency responses and gains.
Q10.setup.e-book Ch.10 - Psychoacoustic Stereo Panning Page 53

Hyper-left frequency responses, polarities and gains.
These setups process a double-mono stereo signal, i.e. a stereo signal whose
channels are an identical mono signal, to provide a stereo file in which the
mono signal is panned to the chosen position. If you start with a mono file,
convert it to a double mono file by selecting “Save a Copy...” in the file menu,
then selecting Sound Designer II, 16 bit, stereo mode, entering a new file
name, and then clicking the “Save” button.
The HalfLeft and HalfRight setups pan sounds half-way from center to edge
across the stereo stage, but with extra width in the bass to give greater
spaciousness of effect.
The HyperLeft and HyperRight setups pan sounds at the edge across the
stereo stage, but with extra width in the bass to give greater spaciousness of
effect, beyond the stereo loudspeakers.
IMPORTANT NOTE: These two setups make use of the Q10 version 1.1's
polarity invert function, and will not work on the older Q10 version 1.0.
By processing several mono files to different stereo positions using these

setups, and then mixing them together as stereo files using the Sound

Designer II mix function, you can create extra wide and spacious stereo mixes.
When using Sound Designer II mixing (or on another platform using these
files), ensure that you preserve stereo effects by ensuring all stereo panning of
channels is set to its channel only, i.e. left to left and right to right.

Use of Q10 setups at lower
sampling rates
Many of the Q10 setup files are NOT compatible for use with audio
files sampled at sampling rates below 44.1 kHz.
Please note that NO setups are compatible with 22.05 kHz sampling rate audio
files with the Q10 version 1.0 (or beta versions of the Q10 version 1.1.) All
compatibility statements are with reference to the released version of Q10
version 1.1 only.
In the following, when we refer to "22kHz sampling rates" we actually mean

either the PC rate of 22.05 kHz or the MAC sampling rate of 22.254 kHz.
••••••••••••••••••••••••••••••••••••••••••••••••••
The following setup files in the Q10 setup library should work
substantially correctly in the Q10 for audio files at all sampling
rates between 22 and 48 kHz:
Supernotch.setup
HalfLeft.setup, HalfRight.setup
HyperLeft.setup, HyperRight.setup
HarmonicComb1.setup, HarmonicComb2.setup,
HarmonicCombOdd.setup, HarmonicComb5.setup,
telephone.setup
PresenceA.setup, PresenceF.setup
PStunableA.setup, PStunableAreverse.setup
PStunableB.setup, PStunableBreverse.setup
PStunableC.setup, PStunableCreverse.setup
PS10band.setup, PS10reverse.setup, PS10narrow.setup,

PS10revnarrow.setup
PseudoStereo2.setup, PS2reverse.setup
crossover1.setup
crossoverLC.setup, crossoverCR.setup
crossover2octave.setup
crossoverLCR2.setup
E-guitar1.setup, E-guitar2.setup
Q10.setup.e-book Appendix A - Use with low sample rates Page 56
Badtelephone.setup
----------------------------------------------
The following files will work at 22 kHz provided that the low-pass
bandgroup is SWITCHED OUT, so that they provide only high-pass
filtering:
EQtools.setup
Noisefilters1.setup, noisefilters2.setup
Broadcast44.1.setup
AMradio.setup, speech.setup
The following pseudostereo will work at 22 kHz provided that the

highest bandgroup (Q10 band 10) is switched OUT:
PS7band.setup, PS7reverse.setup, PS7band2.setup, PS7reverse2.setup
----------------------------------------------
A few setups are provided specifically for operation at 22 kHz sampling rates,
which are indicated by [22] being added to the setup name. These provide at or
around 22 kHz sampling rates similar functionality to the ordinary setups with
same file names at 44.1 or 48 kHz.
AMradio[22].setup
PseudoStereo10X[22].setup, PS10Xreverse[22].setup,
PS10Xnarrow[22].setup, PS10Xrevnarrow[22].setup
PseudoStereo18[22].setup, PS18reverse[22].setup
multimedia11[22].setup
[N.B. This simulates the brickwall bandlimiting of the 11.05 kHz sampling rate
on files sampled at a 22 kHz sampling rate - and can be used also as an
antialiasing filter for sample rate reduction from 22.05 to 11.025 kHz.]
----------------------------------------------
Q10.setup.e-book Appendix A - Use with low sample rates Page 57

Acknowledgements
Subjective evaluation and assessment of filter designs has used many kinds of
sound material, varying from early historical recordings, orchestral and
chamber music, jazz, speech, soft and hard rock, live and studio recordings etc.
Particularly useful for assessing the effect on single unprocessed sounds has
been tracks 60 to 79 of the “Sound Check” CD by Alan Parsons and Stephen
Court, a CD of sound material intended for evaluation of studio monitoring
rooms and sound effects processing.
The pseudostereo setups are dedicated to the memory of classical conductor

Hermann Scherchen, who in the 1950’s devised the first commercially viable
method of pseudostereo.
Setups in this manual were developed by Michael Gerzon for Waves, with
technical support and advice by the Q10 development team: Meir Shashoua
and Shai Spharim and additional support by David Ball. Manual written by
Michael Gerzon with contributions and editing by David Ball.
Q10.setup.e-book Acknowledgements Page 58

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Q10.setup.e-book Cover Page 1

1.2 “Try These First!” effects

1.2.1 Pseudostereo effects

PseudoStereo2.setup. This produces a “pseudostereo” effect with bass on

Frequency response of PseudoStereo2.setup.

PseudoStereo10X.setup. This produces a very wide “pseudostereo” effect

Q10.setup.e-book Ch.1 - Introduction Page 3

PseudoStereo18.setup. This produces a very diffuse “pseudostereo”

Frequency response of PseudoStereo18.setup.

1.2.2 Bandlimit effects

telephone.setup. This gives the authentic sound of telephone bandwidth

Q10.setup.e-book Ch.1 - Introduction Page 4

AMradio.setup. The sound as heard over typical AM radios, restricted in

Frequency response of AMradio.setup.

Speech.setup. This setup removes frequencies above 10 kHz and below

Q10.setup.e-book Ch.1 - Introduction Page 5

multimedia22.setup. This simulates on 44. 1 kHz sampled files the sound of

Frequency response of multimedia22.setup.

1.3 Operational aspects

1.3.1 Clipping distortion & Overload

Q10.setup.e-book Ch.1 - Introduction Page 6

An exception to this rule is the intentional distortion effects!

1.3.2 Sampling rates

Because different sampling rates handle different ranges of audio frequencies,

Q10.setup.e-book Ch.1 - Introduction Page 7

Adjustable “Pseudostereo” Effects

Basic alternative pseudostereo setups:

Versions with reversed or narrow stereo stages:

Basic steepcut filter setups:

Q10.setup.e-book Ch.2 - Setup files in the Library Page 9

Psychoacoustic noise filters. These filters are designed to reduce

“Supernotch” filters. These are notch filters to selectively remove

Deep supernotches are provided in

and more moderate partial supernotches in

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and also in the pseudostereo setups

Superparametric equalizer. These settings allow selective boosts or

Superparametric boosts and cuts are provided in

A direct comparison with conventional parametric boosts and cuts is provided

Graphic equalizer. The default setup on first opening up the Q10 is as a

A 6-band graphic equalizer is provided in

and within the pseudostereo setups

PseudoStereo2.setup, PS2reverse.setup, PS2band2.setup,

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22.05postcomp.setup, 22.25postcomp.setup, 11.025postcomp.setup.

A general bandlimiting tool for files subsequently to be converted to 22 and 11

Brickwall crossover effects. These effects provide “brickwall”

Harmonic Comb Filters. These filters “notch out” a fundamental

Distortion Effects. Normally, digital clipping distortion is to be avoided.

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Psychoacoustic stereo panning. These effects allow a mono sound to

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3.1 Select-and-drag control

The Q10 permits a large number of equalizer parameters to be “linked”, i.e.

For most adjustments on stereo material or on mono inputs, the stereo

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