Auto EQ. The software includes the Auto Eq application that maps the frequency values of the audio and changes them into a more linear frequency.
The audio should be played at the part where it's the loudest and most intense. There's no need to listen to the whole audio. While running the audio, push the reset button. The software changes the frequency ranges' volume to more linear. After the software finds the most ideal setting, change the system to with multiples.
Multiples: They multiple the value of the change. For example, if it's double, if the EQ changes the volume by 1.5 dB, in the case of double, it'll be 3 dB.
Equalizer. Using Equalizer we can separate the sounds on the right and left side and the middle of the audio, then we can change their frequencies separatedly. (Mid-Side) Of course it can be used as a traditional equalizer as well. On full frequency spectrum we can make changes in 7 different frequency range, and there’s also a low and a high pass filter.
Q value: We can change the value on the graphic display. This is a small-sized knob next to the number of the frequency range.
Simple and Mid/Side mode in simple, all 9-9 editable range has blue and gray colour-codes. You can change or turn off the effect the change of the ranges cause with the colour-coded buttons.
Fine-tuning values: Push the shift button on your keyboard and change value of frequency.
Return to default value: Push the CTRL button and select the actual button with mouse.
Tube emulation can bring out the maximum from music. With the help of this program, it's possible to bring out extra deep frequency without distortion. And when the distortion is impossible to avoid, the program makes the sound affable to human hearing. This solution is typically used by analogous technologies. Try to avoid this function with sterile electronic music. It is recommended for acoustic music, in case we want to model the natural distortion of the analogue tube.
Tube Type: You can choose from seven different kinds of tubes, all of which have original characteristics.
Conversion: This control adjusts the intensity for bass and high processing.
Warm: This control defines the portion of the processed bass + exciter signal that should be mixed with the original signal.
Maximizer helps with the prevention of overdrive, and with creating a higher
volume for the audio. If the frequency is treated with compressor or a HP filter, the software is capable of achieving a tune without distortion even at extreme (-2RMS) values. /Not recommended/
Threshold 1: You can adjust the level of the compression with this option. While raising the rate, the software compresses, and raises the volume of the compressed sign in propotion. The Threshold change the dynamic range and make some smooth effect on the audio. If you not like this, use the Threshold 2 function!
Release: You can adjust the speed of changing the compressed sign back to its original state. On high threshold rate, long mode is suggested.
Theshold 2: Using this algorithm it is possible to higher the volume better than in any other software.
RMS: An established loudness measurement standard. In the loudness war this is the maximum value (– 4 dB. ) The RMS meter displays the average level calculated over a short window of time.
LUFS: The short-term loudness uses a sliding rectangular time window of length 3 s. The measurement is not gated.
Stereo/mono button: Using mono mode you can check if there was phase cancellation in the sign. Too much spacial enhancement can sometimes make elements of your track 'disappear' when played in mono. If your sound is already mono, even with this button turned off, then it is likely that the spacial enhancer has been set to zero for all of the bands.
Load wav/VST buttons: Furthermore, a comparative wav file can be loaded as well. If the user wishes to compare the tune of the mastering created by us, and the tune of any other music, this feature is the key. This player can be used to load and play a reference track. It's often useful when mastering to compare against a piece of music in a similar style that you know has a great sound. Switch between your tune and the reference track regularly to make sure that your settings are headed in the right direction.
Graphic frequency range handler interface: It can manage 4 different frequency ranges. The overlay of the different ranges can be changed with the vertical white lines.
When used, the vectorscope shows the stereo images of the ranges, and therefore you can see on the graphic display if the sense of space is correct. The ideal shape of vectorscope is oval or egg shaped.
Stereo imager: Adds to the sense of space. In middle-state there is no change. Pushing the slider down the sign changes to mono, pushing it up adds to the sense of space.
Mid volume: Changes the volume of the mid-channel Useful function, because it lowers the middle sounds’volume – like the kickdrum or the vocal zone.
Delay mid: Gives space to the mid channel without changing the side channel.
Delay side: Same as delay mid, but the change can be done on the side channel
Pan mid: Moves the mid channel into stereo space, changing the stereo’s sense of space. No need to use it with well mixed music, but this function is available in all frequency ranges, and using them together results in an interesting audio.
Pan side: Same as pan mid, but the change can be done on the side channel. Volume: All 4 frequency-ranges’ volume can be changed separately.
Volume: All 4 frequency-ranges’ volume can be changed separately.
Transient recovery allows you to fine tune the shaping of transients before limiting takes place helping to preserve sharper sounds. So it is extracts transients from the original sound.
Horizontal line: Can changes the sensitivity in dB.
Vertical line can changes frequency range of detection.
Multiband saturation is a whole new function where the audio sign can be edited in 4 frequency ranges. Using the feature the volume of the overtone sounds can be strengthened, and a more analog tune can be achieved.
Difference: When on, the difference between the original and the modified sound can he heard. If there's no change, there's no sound. BB: the changes of the frequency ranges can be listened to separately.
Mid/Side compressor: You can freely change the compressors, in 4 different frequency-ranges.
Threshold: Sets the operating level for the knee of the compressor. Threshold is continuously adjustable from -45 dB to 0 dB.
Attack: Controls the quickness of the compressor’s response to changes. Attack is continuously adjustable from 0 ms to 100 ms
Release time of the master compressor is continuously adjustable from 0 ms to 50 ms.
Ratio sets the ratio of signal level to signal gain, i.e., the compression ratio. Ratio can be switched between 1:1, 8:1.
Gain compensates for a change in signal level due to compressor activity. Gain is continuously variable from -24 dB to +6 dB.
In the standalone version the audio the user wishes to edit can be loaded. You can use wav, aif, aiff, and mp3 formats.
The vertical marker lines set the part to be looped. If the loop button is on, the part is repeated.
The tempo slider changes the music's tempo.
The record button starts the recording. It's real time, so the recording must be played from start to finish.
Preset. Use the preset manager to store your favourite settings for different styles of music, having 'template' settings for your favourite kinds of music can save you a lot of time. Change the preset name, by clicking on the current name, before saving to make sure you remember what style or track your preset is to be used for.
Like all mastering programs, this one will take a little time to master. This is perfectly normal; finding the right settings is a process of continual refinement. Having so much control available gives you the power to get precisely the sound you're after - so some time spent learning and practising will be time well spent.
The most important aspect of this program is that it is designed to emulate the behaviour of analogue circuits and tape recording. Compared to other mastering softwares, Godlike is able to create higher volume and less distortion. Usually, with higher volumes, we need to lower deep frequency volume for the quality to remain. Tube virtualizer is the perfect solution as it allows higher quality in deeper frequencies. Threshold 2 provides a chance for even higher volume, but it’s important to note that higher volume lowers the dynamics, and it’s not necessarily the better choice. Digital mastering often leads to an unattractive, harsh sound, whereas analogue systems generally allow greater control of volume and tone to be achieved while retaining the smooth sound that most listeners prefer. The software is designed to allow this sweet analogue sound from your digital studio. The functions are all those that any mastering engineer would expect, and are provided by other mastering software or combinations of other plugins. However, I believe that the superior sound and convenience of this plugin will make it the best one available for a long time. It also shows that you don't always need a huge development team in order to make the best software; I have programmed this plugin myself to provide the very best sound. Regards, Ferenc Gyuricza