These are the minimum recommended system requirements for running Carve EQ.
If you have many instances of Carve EQ running the CPU usage will increase accordingly. Thus, we cannot guarantee that Carve EQ will work flawlessly in all use cases even if your system does meet the minimum recommended system requirements.
Kilohearts' Carve EQ is a powerful graphic equalizer, with 31 third-octave bands and a versatile interface. Stereo processing is possible with both Left/Right and Mid/Side modes. Carve EQ has a workspace centric user interface provides many options for how to edit the equalization curve. The EQ Match Tool can be used to automatically match the eualization to a reference track.
This is an overview of the plugin UI. It may look a bit overwhelming at first, but let's try to break it down a bit.
Most parameters of Carve EQ are controlled by the knobs and the sliders seen in the UI. To move a knob or slider simply click on it, and while holding the mouse button down move the mouse up or down.
Sometimes you might want more precise control when tuning a parameter. Hold the shift key while moving a knob or slider to enter fine tuning mode, where the knob or slider will move more slowly.
You can reset a knob to its default position by double clicking it.
Finally, most controls support entering the value using your keyboard by right-clicking on them.
The first thing you want to do after installing Carve EQ is probably to try out some of the presets it comes with. To reveal the preset browser, click on the name of the current patch in the top most part of the UI.
Loading a preset in the preset browser is as easy as clicking on it. The preset browser also allows saving presets, and organizing them into folders. Presets are divided into two categories, factory presets and user preset.
Factory presets are included with Carve EQ or downloaded using the Kilohearts installer. Factory presets are write protected to protect them from accidental corruption.
The user presets folder is where you as the end user should store your own presets. By default this folder is located in your documents folder, but you are free to relocate it elsewhere.
Once you have checked out some of the presets you are probably eager to get your hands dirty and create your own patches. We designed Carve EQ to be easy and fast to work with, and we hope you will enjoy experimenting and discovering the possibilities. Still, knowledge is power, so in this section we will go through all the features of Carve EQ in detail.
A graphic equalizer, like Carve EQ, works by designing a filter with a specific gain at certain bands on the frequency spectrum. Carve EQ allows you to work with 31 such bands, positioned at third octave intervals across the spectrum. The control points themselves s are only visible in Carve EQ when the Select tool is enabled. The other tools only let you manipulate the bands indirectly by editing the filter response.
The sculpt tool allow you to mold the frequency response in an organic and intuitive way. Simply grab the response curve with the left mouse button and drag it into the shape you want. You can adjust the size of the area affected by the tool by adjusting the slider in the tool options, or with the mouse scroll wheel. Two dashed vertical lines show the current size of the tool.
The select tool gives you access to the individual graphic equalizer bands. When the tool is enabled a marker will appear on each of the 31 bands. The markers can be dragged up and down with the mouse. To improve the precision while dragging, hold the Shift key. Clicking a handle with the right mouse button will let you set it's gain value using your keyboard.
Several handles can be selected at once by clicking and dragging a selection rectangle around them. They can then be dragged together.
When one or more handles are selected you can press the the Delete to reset the selected bands back to 0 dB. If you are currently editing only one of the stereo channel the delete key will first reset the handles to whatever the other channel is set to, pressing the delete key again will reset the bands to 0 dB.
Use the pencil tool to freehand draw your filter response. Simply click and drag with the mouse to draw.
The pan view tool is used to pan the viewport along both the frequency and the gain axis. Simply click and drag to pan the view.
It is also possible to pan the view with any tool selected by clicking and dragging on the axis labels below and to the right of the viewport.
The zoom view tool is used to zoom the viewport along both the frequency and the gain axis. Simply click and drag to zoom the view.
It is also possible to zoom the view with any tool selected by scrolling the mouse wheel when hovering the axis labels below and to the right of the viewport.
The reference tool allows you to display an overlaid spectrum of another sound in the main work area. This can be useful in many ways, for example when trying to match the equalization curve of one song to another one, or during mixing when you want to avoid having two tracks clash in the same frequency range. Reference spectrums can be recorded and and later loaded from profiles which can be easily shared between different sessions.
The reference data can come from many different sources:
The match tool is a very powerful tool which allows you to automatically match the the equalization to a reference. You can use this on the master bus to match the frequency levels of your song to another one. It also works well on single instrument, to match the timbre of one instrument to another. You can also toggle the Invert option to carve out space in the spectrum of one track to avoid clashing with another one.
Using the match tool is a three step process:
The input profile that you record will be remembered by the plugin so you can use it several times. You must remember to update it if you want to use the match tool again after making any changes to your song.
The detail knob adjusts the sensitivity of the algorithm across the frequency spectrum. A higher setting will be needed to pick out narrow frequency peaks, while a lower setting will match the equalization curve with more broad brush strokes.
The amount knob mixes the result of the matching algorithm with a flat 0 dB equalization curve. This allows you to dial back the matching effect a bit if it's too extreme.
Finally, there is an option invert the matched curve, carving out frequency space in the input for the target profile rather than matching their curves.
The match tool will completely replace any equalization curve you had set before you started, but it does let you edit the resulting curve freely once you are done with the match tool.
Below the tools in the toolbar you will find controls for handling equalization in stereo.
At the bottom is a dropdown that lets you choose if the equalizer works in Left/Right or Mid/Side mode. The Left/Right mode will let you apply different equalization to the left and the right channels. The Mid/Side mode, on the other hand, will let you equalize the mono content (mid) separately from the stereo content (side).
On top is the edit mode selector. It lets you choose what channel to edit with the edit tool. By default it is set to "both channels", but you can change it to left, right, mid, or side to only edit that channel. Instead of clicking, you can also toggle the current edit mode with the Tab key.
In the bottom right corner you will find the Gain and Mix knobs.
The Gain knob adjusts the overall gain of the equalizer. You can use this to compensate for your equalization inadvertently making the overall volume louder or softer.
The Mix knob scales the gain of all bands, scaling it down to 0 dB at 0% mix.
In the status bar you will find two dropdowns which can be used to tune the look of the spectrum.
This development of this product was helped by the following pieces of excellent open source software:
Skia Graphics Library
Copyright © 2011, Google Inc.
Copyright © 2010-2013, NuEdge Development / Magnus Lidström
Copyright © 2005-2015, Lode Vandevenne
C++ optimized SHA1 algorithm
Copyright © 2011, Micael Hildenborg
By Rich Geldreich
By Don Clugston
By Laurent de Soras