bx_digital V3

Plug-in Manual
 Brainworx bx_digital V3
The Brainworx Flagship M/S EQ

Contents
About the Brainworx bx_digital V3 • 4 The bx_digital V3 Shifter and Dynamic EQs • 9
Using the bx_digital V3 (1/2) • 5 The bx_digital V3 Gain Scale and Mono Maker • 10
Using the bx_digital V3 (2/2) • 6 The bx_digital V3 Frequency Graphs and Metering • 11
The bx_digital V3 Master Section • 7 The bx_digital V3 Toolbars • 12
The bx_digital V3 Input Filters and EQ Bands • 8

The Legendary M/S Mastering and Recording EQ

Developed under license by Brainworx GmbH Germany and Distributed by
Universal Audio.

The bx_digital V3 EQ plug-in can be installed and operated like any other UAD-2 plug-in.
Please check www.uaudio.com for general info about the system requirements, etc
About the Brainworx bx_digital V3

The bx_digital Legacy

Brainworx’s bx_digital EQ plug-in kHz. A proportional Q mode (similar

has been the company’s flagship to the API 550 or SSL console EQs)
product since its first release in now provides the option for band
2006. The original bx_digital (aka V1) focus to be increased with gain.
perfectly modeled the workflow of The indispensable De-Esser section
the Brainworx bx1 Analog Modus (newly referred to as a Dynamic EQ)
Equalizer, a hardware unit released now has two speeds and supports
by Brainworx founder, and noted producer, Dirk Ulrich in 2005. an inverse mode, allowing for amplitude-dependent cut or boost of frequencies. Finally,
the user-friendly Bass and Presence Shifters have become more versatile, adding
With the release of bx_digital V2 in 2009, the reputation of this powerful and flexible three tones of tilt EQ, so you can better dial-in low-end core or high-end character.
equalizer as THE go-to M/S mastering and recording EQ for producers and engineers
alike really took off. Voted #1 Best Plug-in of the Decade by Future Music, the “I never even dreamed about where this EQ design of mine would take me or Brainworx
bx_digital V2 has become the standard by which other equalizers are judged. as a company to in only 10 years when I first designed it. I am so proud of knowing
that bx_digital can be heard on countless #1 hits and movies all over the planet. This
By including all the features and character that made bx_digital V2 a legend, while has been the EQ that started it all, and seeing it develop even further in this V3 while
introducing a plethora of powerful new features that will improve your workflow with looking even closer to the original hardware puts me in plug-in heaven.”
bx_digital V3, Brainworx has once again taken EQ plug-ins to the next level. Dirk Ulrich
CEO/Founder, Brainworx
More options for slopes and filter types have been added to the HP/LP filters and the
EQ bands, and the effective frequency range of the EQ section has been boosted to 40
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Using the bx_digital V3 (1/2)

What is bx_digital V3? What is M/S technology?

bx_digital V3 is an ultra low-latency 11-band stereo EQ that works in several modes, Most engineers who record music know about the M/S microphone technique (two
among them two sophisticated M/S modes for mastering and microphone recordings. different types of microphones for stereo recordings -- an omni or cardioid microphone
It also includes a built-in stereo De-Esser/Dynamic EQ as well as filtering techniques for the M (mid) signal and a “figure-8 microphone” for the S (side) signal).
and controls that, when combined, introduce a unique and powerful way to mix and
master sound. Recording a signal in M/S means to create a stereo (L/R) signal by mixing the M and
the S signals together in a special way that will result in a very mono-compatible stereo
V3 is based upon the “modern classic” bx_digital V1 and the analog bx1 EQ. Brainworx signal, while having deeper control over stereo width and placement. Traditionally,
developed this high-end analog EQ in 2006/2007 and has offered a software recording in M/S without a dedicated matrix processor means the “M” signal has to
emulation ever since. be fed to the left and right channel in a mix, while the “S” signal is duplicated and phase
inverted between the Left and Right channels. This means a total of 3 channels that
The hardware bx1, or “MODUS EQ”, was an analogue class-A equalizer that runs in come from only 2 microphones are mixed together to create a conventional stereo
four different modes, providing up to three channels of extremely musical filters: signal. Needless to say, this can easily get quite tedious.

• A conventional L(eft) and R(ight) stereo mode for any stereo/dual mono applications. bx_digital V3 does all that work for you; just feed it with the separate M and S
• A stereo mode with a built-in M/S-matrix, mainly used for stereo mastering purposes. microphone signals and switch it to M/S Recording...
• A three-channel mode (one stereo PLUS one mono channel) for surround mastering &
recording studios purposes. Details on M/S recording can be found in any decent audio book. Feel free to
• An M/S-Recording-mode that will use two individual microphone-signals (M&S-signals) explore if you want to learn more about this method to create very mono-compatible
fed into the bx1 to create a highly mono compatible stereo signal, mainly used for or- stereo-signals, e.g. when recording classical music, drums, choirs or acoustic
chestral recordings, choirs or for recording acoustic instruments in general. instruments in general. You may also watch this video by Dirk Ulrich for an in-depth
demo on using the bx_digital when recording in M/S.
The hardware bx2 was an “Image Shifter” and De-Esser that can work in M/S mode
as well, thereby making it the perfect extension to the bx1 when it comes to mastering
stereo signals. It also included a “Mono-Maker“ that allows one to fold the frequencies
of a mix between 20 Hz and up to 22 kHz to mono and make sure the bass-section is
tight and compatible for vinyl-pressings.

The bx_digital V1 (and subsequently the V2) was an exacting emulation of both units’
features, the state-of-the-art bx1 equalizer and its expansion unit, bx2. Only one mode
of the hardware, the three-channel-mode, was left out for audio host standard reasons.
Together, these two units are the perfect choice when looking for an extremely musical
and tasty way of equalizing and de-essing stereo signals in a mix, when mastering full
mixes, or when recording with M/S-microphone-techniques.

bx_digital V3 now offers additional features that neither the original bx1 analog EQ
nor the V1 or V2 plug-ins offered.

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Using the bx_digital V3 (2/2)

We assume that most if not all people who have purchased bx_digital V3 are familiar way of working, and there is a reason why some of the top mastering studios in the
with using a standard L/R-EQ, so we will skip the total basics of “how to use an EQ” world have been working like this for ages with custom made M/S-boards -- without
and go on with less commonly known EQ techniques... really telling anybody...

In fact if you have a more or less “perfect” stereo signal to work on (e.g. a very good M/S mastering might just be the key to your music sounding as big, and yet still open
mix), it might be a good idea not to change it at all or at least not very much, so you and clear, as that pinnacle of sound to which productions often refer... :-)
might be okay with using the standard L/R mode of the bx_digital and use the EQs
rather carefully. Many people who have used the M/S modes for the first time told us that they had
the impression of a “3D-like” depth in their mixes after processing the M and the S
But let’s assume we have an average stereo signal (e.g. a mix) with some problems signals individually. While using the M/S technique for mastering does affect your
that we want to correct throughout the frequency spectrum and within the stereo phase in the stereo signal, we do not see this as a problem. In M/S modes, phase
field. It can be difficult to pick apart the components of a mix in an attempt to surgically alteration is done intentionally. Of course, the M/S mastering mode also works well
alleviate problem areas. if you want to correct small mistakes in your mixes... for adding or cutting away large
amounts of bass or treble signals, you might be better off working in L/R-mode.
With the M/S mastering mode of bx_digital V3, you can now transform your stereo
mix into two, easy to adjust, mono sums (M & S, or “Sum & Difference”); the bx1 lets TIP: If needed, simply use two instances of bx_digital on your master bus: one in L/R
you hear both sections perfectly in phase. This way you can clearly hear any problem mode, the second in M/S mode.
within your mix and make any needed improvements simply and precisely.
Once you are used to the basics of M/S you might easily get into more detailed
We propose you start working with bx_digital V3 in M/S mastering mode (that’s the functions. Try balancing out a mix that is not centered 100% (most mixes that come
default setting) by simply listening to some of the mixes that you know very well or to from an analogue desk with inserted compressors, EQs, in the main stereo insert,
some of your favorite CD-tracks. While you do so, press the Solo buttons of the M and etc., are not balanced 100%!) by Soloing the S section and adjusting the M and S Pan
S sections alternately to get used to how your mixes sound separated into these two and Balance controls until all the things that should be centered (like bass drums,
mono sums. You will very quickly be able to hear stuff inside your music that you might snares, lead vocals, bass, etc.) in your mix disappear completely. If that ‘s the case you
want to correct or adjust, so why don’t you just do it? can be sure that your mix IS balanced!

Using bx_digital V3 in a typical mastering or recording session Make your mix wider than it originally was by increasing the Stereo Width without
Mastering music is all about hearing objectively and enhancing musical performances losing the center of your recordings! You will not lose bass drum power or vocals by
if possible... but it is, often enough, about correcting mistakes that have been made making your mix wider this way... and it will not sound different played back in mono at
somewhere in the process. all. If you notice the Correlation Meter showing less than 90º, dial up the Mono Maker
a bit to tighten up the low-end until acceptable levels are shown.
Start EQ’ing the M and S sections individually while soloing the respective section. Don’t Conversely, if you have a drum loop that was recorded with too much ambient sound
forget to switch the Solo buttons off from time to time and listen to your complete mix or reverb, just get rid of it by decreasing the Stereo Width (in all modes!).
in “full stereo sound” again. This way you get a feel for how your adjustments on the
individual sections affect the whole stereo mix! After you have used a few EQ bands
on your mix, compare it to your original mix by using the Bypass switch for the whole
unit or for individual EQ bands.

Mastering in M/S takes a little time to get used to -- it’s just really different EQ’ing two
separate mono sums than EQ’ing conventional L&R signals. But, it’s a very musical
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The bx_digital V3 Master Section

Gain In: Continuous from (-oo) - 0 dB - (+12 dB)

Drives the amount of signal input gain *Modus Knob: Discrete 3 steps: “L/R”, “M/S Master”,
“M/S Record”
Gain Out: Continuous from (-oo) (0 dB) (+12 dB) Use this setting to control the internal M/S matrix of
Drives the amount of signal output gain bx_digital V3:
-Use L/R for normal stereo processing; M and S
*Stereo Width: Continuous from 0% - 100% - 400% sections of the EQ will now be labeled L and R
Increases or decreases the perceived width of the signal by -Use M/S Mst. to process stereo signals through the
manipulating the relative volume of the S signal internal M/S matrix, allowing M and S channels of the signal
to be individually adjusted
*Balance L/R: Continuous from 100 L - C - 100 R -Use M/S Rec. to process signals that were recorded in
Tilts the stereo image between left and right channels M/S; the internal matrix will process each signal individually
and output a stereo signal
*Pan M: Continuous from 100 L - C - 100 R
Offers individual control over the position of the M signal *L<>R: Discrete two-steps on/off
within the stereo field; good for correcting theoretical cen- Swaps the left and right channels with each other
ters and off-axis sound stages
Auto-Listen: Discrete two-steps on/off
*Pan S: Continuous from 100 L - C - 100 R Toggles Auto Listen feature
Offers individual control over the position of the S signal
within the stereo field; this is a much more subtle effect than EQ Active: Discrete two-steps on/off
positioning the M signal and should not be used to make Toggles the EQ section
drastic changes
*Channel link: Discrete two-steps on/off
*Auto Solo: Discrete two-steps on/off Links both M and S (or L and R) channels of the EQ section
When this is enabled, each section (M and S or L and R) will
be automatically soloed when changing parameters within *Stereo operations are not available on the Mix version of bx_digital
that section V3

Configuring Auto Listen

Q f G: 7 steps: “Q - -”, “- f -”, “- - G”, “Q f -”, “Q - G”, “- f G”, “Q f G”

Configures the Auto Listen function, allowing for a customization of which EQ functions are automatically
monitored when adjusting a parameter.
-Q enables monitoring of Quality factor, allowing for the affected bandwidth to be heard when
making adjustments to Q.
-f enables monitoring of frequency by using an extremely narrow and high-gain peak filter to
facilitate precision when adjusting a band’s frequency
-G enables monitoring of gain on each band by soloing the change in gain being made to that
band Auto Listen configuration panel
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The bx_digital V3 Input Filters and EQ Bands

Input Filters EQ Bands

The input filters on bx_digital V3 have been upgraded from those The bands on bx_digital V3 have also been updated from V2, extending
of V2. A wider frequency range is now available (20 Hz to 30 the range of the High Band from 22 kHz to 40 kHz, allowing for work in
kHz), as well as two different filter slopes. the highest regions of the spectrum. There has also been the addition
of a Proportional Q mode, which narrows the bandwidth as the gain
Slope: Discrete 3 steps: “Off”, “6 dB”, “12 dB” increases (much like an API 550 EQ band). This allows for more
Changes the rolloff of dB/octave for each of the input filters aggressive settings while minimizing the introduction of added gain in
the surrounding frequencies.
High Pass Cutoff Frequency: Continuous from 20 Hz - 30 kHz
Sets the cutoff frequency for the High Pass filter EQ Band Quality Factor: Continuous from 0.28 to 15 (logarithmically
scaled)
Low Pass Cutoff Frequency: Continuous from 20 Hz - 22 kHz All five bands feature a Quality range of between 0.28 and 15, with the
Sets the cutoff frequency for the Low Pass filter exception of the Low Band and High Band, which switch to a Low Shelf
and High Shelf, respectively.
Link: Discrete two-steps on/off
This button links the settings between both High Pass or Low Pass filters EQ Band Gain: Continuous from -12 dB to +12 dB
Each of the five bands has a 24 dB range of gain addition or reduction; the Gain parameter
is affected by the Gain Scale setting. At the lowest Gain setting, the three middle bands
(LMF, MF, HMF) produce a Notch Filter.

EQ Band Frequencies
LF: Continuous from 20 Hz - 2 kHz
LMF: Continuous from 20 Hz - 2 kHz
MF: Continuous from 20 Hz - 22 kHz
HMF: Continuous from 400 Hz - 22 kHz
HF: Continuous from 2 kHz - 40 kHz

EQ Band Active: Discrete two-steps on/off
Each EQ band can be deactivated via the button below the
Frequency knob

Solo M (L) / Solo S (R): Discrete two-steps on/off

Use this to audition each signal in either the Mid/Left or
Side/Right section of bx_digital V3

Prop. Q: Discrete two-steps on/off

Implements a proportional Q per-band that is similar to the behavior of an API 550.
Use this to make drastic changes in frequency gain response while minimizing unwanted
collateral gain.

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The bx_digital V3 Shifter and Dynamic EQs

Bass Shift Module Presence Shift Module Dynamic EQ

This is a fixed-band tool that can The Presence Shift is much like the The Dynamic EQ
be used to instantly achieve an Bass Shift, in that a tilted curve is p a r a me te r i s th e
excited and punchy bass while used in order to excite the frequency successor to the
automatically reducing the effect range most associated with De-Esser found on
of the unwanted partials in the creating presence in a mix, and bx_digital V2. Rather
adjacent higher frequencies, compensated for by reducing than exclusively performing
tilting the curve so as to achieve surrounding frequencies that would dynamic reduction of a
a more natural sounding ‘thump.’ muddy the character. Use it to certain frequency, this
Conversely, one can also use the Bass Shift to reduce the easily boost non-sibilant frequencies and add more breath, parameter can now either boost or cut frequencies based
core of a bass sound while emphasizing the adjacent or compensate for rigorous de-essing in the M signal by on a signal trigger. Where the reaction speed and in-circuit
frequencies, creating an implied bass. replacing lost frequencies in the S signal. position were once fixed, you now have the ability to shape
the way the Dynamic EQ respnds to and affects sound as it
Bass Shift: Discrete two-steps on/off Presence Shift: Discrete two-steps on/off relates to the entire process.
Toggles the Bass Shift module Toggles the Presence Shift module
Dynamic EQ: Discrete two-steps on/off
Tone : Discrete 3 steps: “A”, “B”, “C” Tone : Discrete 3 steps: “A”, “B”, “C” Toggles the Dynamic EQ module
Offers three distinct flavors of the tilt-shift EQ, introducing Offers three distinct flavors of the tilt-shift EQ, introducing
changes in center frequency, bandwidth and relative gain changes in center frequency, bandwidth and relative gain Gain: Continuous from -30 dB to +30 dB
Controls the amount of gain dynamically added or reduced
Link: Discrete two-steps on/off Link: Discrete two-steps on/off within the selected frequency range
Links each Bass Shift parameter between both M and S Links each Presence Shift parameter between both M and S
(or L and R) modules (or L and R) modules Link: Discrete two-steps on/off
Links each Dynamic EQ parameter between both M and S
Gain: Continuous from -12 dB to +12 dB Gain: Continuous from -12 dB to +12 dB (or L and R) modules
Controls the amount of gain added or reduced within the Controls the amount of gain added or reduced within the
frequency band when using Bass Shift frequency band when using Presence Shift Position switch: Discrete two-steps “Pre (EQ)” and “Post
(EQ)”
Sets the position of the Dynamic EQ to either pre or post the
main EQ circuit

The bx_digital V3 Shifters and Dynamic EQ - Master Version Speed switch: Discrete two-steps “Fast” and “Slow”
Sets the reaction speed at which the Dynamic EQ band is
triggered

Solo: Discrete two-steps on/off

Solos the part of the signal affected by the Dynamic EQ

Frequency: Continuous from 20 Hz to 22 kHz (logarithmically

scaled)
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The bx_digital V3 Gain Scale and Mono Maker

Gain Scale The Mono Maker

New to V3, the Gain Scale parameter gives you control over the This tool is a critical component to several Brainworx
factor by which ALL EQ bands are adjusted. Think of it like a processors, and it is an invaluable tool when mastering or
global More / Less setting for all the EQ bands, like a Master tightening up a mix. Sweepable from 20 Hz to 22 kHz, this
Gain knob for all EQ bands. There is instant visual feedback when parameter folds the processed sound to mono at and below
referencing the Frequency Graph display. the frequency set. The most common setting is between
100-200 Hz, below which bass frequencies reside, where
Gain Scale: Continuous from -200% to 200% common practice deems that most sound should be mono.
Controls the factor by which every gain band is calculated. For Other uses include folding an entire mix in order to check
example, 100% is the default amount at which the EQ will adjust mono compatibility and avoid phase incoherency.
every band according to its actual gain knob setting; 200% is
twice the gain boost or cut, and 50% is half the effect. Mono-Maker Active: Discrete two-steps on/off
Toggles the Mono Maker
Gain Scale Active: Discrete two-steps on/off
Toggles the Gain Scale parameter Mono-Maker Frequency: Continuous from 20 Hz to 22 kHz
Sets the frequency at which the signal will be summed to
mono; use this to tighten up the low end (<200) on a mix or
ensure phase coherence when using stereo widening
techniques

The bx_digital V3 Gain Scale and Mono Maker

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The bx_digital V3 Frequency Graphs and Metering

EQ Panels
bx_digital V3 offers accurate frequency response representation Balance and Correlation Meters
via two graphs at the bottom of the plug-in’s interface; this section While these indicators are deceptively simple, they will show critical information
can be hidden by clicking the button at the top right corner of the concerning the final stereo image after processing has been done with bx_digital V3. If
interface. There are two graphs: one for the M (or L) channel, and the Balance meter is off-center, remember to play with the several options for panning
one for the S (or R) channel. In the Mix version of bx_digital, there is offered by the master section (Pan M, Pan S, Bal. L/R) to experiment with the best ways
only one graph. to center the stereo image desired.
Volume Meters
Pre EQ measures levels before processing by The Correlation meter shows phase coherence between the stereo channels of the
bx_digital V3; stereo information is measured by entire processed sound. A value of +1 indicates a fully cohesive signal (mono-compatible),
default, but values reflect Mid and Side information a value of 0 indicates a 90º phase shift, and a
when in M/S Recording mode. value of -1 indicates a full phase inversion between
channels (mono-incompatible)
Post EQ measures levels after processing by
bx_digital V3, which will always be measured in the
signal’s Mid and Side components.

Out shows the final output of bx_digital V3,

which is always in stereo, and includes a clip
indicator for overdriven signals.

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The bx_digital V3 Toolbars

Plug-in Settings Toolbar Mouse/Keyboard Control

BYPASS ALT or COMMAND (Mac) / CTRL (Win) + MOUSE CLICK

Bypasses processing done by the bx_digital V3
reset any knob to its initial value (host dependent)
UNDO/REDO (Arrows)
Up to 32 steps of parameter history COMMAND (Mac), SHIFT, or CTRL (PC) + SCROLL WHEEL
Allows for fine tuning of any knob (host dependent)
Settings A / B / C / D
Select banks of paramter settings; use the A/B/C/D settings to copy a complex SCROLL WHEEL CONTROL
channel setting and alter it slightly for different parts of your song, for example.
place your mouse above any knob and turn the mouse wheel to
These settings can be automated by your DAW system, so you can jump from setting
A (in the verse) to setting B (in the chorus, for example). increase/decrease values.

COPY / PASTE / RESET TYPING IN VALUES

Copy and Paste between setting banks, reset paramters of selected bank 10.000 Hz can be typed in as “10k”, 12.000 Hz would be “12k”, etc.
Closes and opens the bottom panel containing the frequency response graphs
and the meters

ABOUT
Information about the development of the plug-in

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