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TDR Special Filters bundle (new)

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vitocorleone123

Senior Member
Just saw this:


www.tokyodawn.net

TDR Special Filters Bundle | Tokyo Dawn Records

TDR Special Filters plugin bundle.
www.tokyodawn.net www.tokyodawn.net

The TDR Special Filters Bundle includes:

TDR Infrasonic offers precise control over the near-inaudible lowest frequency regions of a mix. It consists of a continuously variable slope filter, min and mixed phase modes, and mix control. It also includes a dynamic bump and a set of harmonic exciters meant to compensate for the perceived energy loss introduced by the filtering.

TDR Elliptical is a modern, state-of-the art elliptical equalizer. It’s an ideal choice whenever low frequency stereo positional information requires control. A continuously variable slope filter with min and linear phase modes, and mix option offer all necessary technical control. Advanced perceptual filtering and mono-summing compensation tricks help preserve the musical impact from input to output.

TDR Ultrasonic helps control the effects of ultrasonic build-up in wide bandwidth processing chains, i.e. whenever chains of nonlinear processors run at sample rates beyond 44.1/48kHz. A linear phase filter with a continuously variable slope, a mix control, and dynamic Ultrasonic Gate options allow to transparently block inaudible content and thereby achieve a lower total distortion in the audible spectrum, at the end of the chain.

TDR Arbiter is a remarkably flexible frequency-selective spectral balancer. What makes it special is the relative nature of the process: The effect is independent of the input signal level, making it an optimal choice for de-essing, plosive control, or overall manipulation of the frequency balance, all without affecting the original signal dynamics structure.

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Also, free new plugin: TDR Prism

www.tokyodawn.net

TDR Prism | Tokyo Dawn Records

A modern spectrum analyzer with a focus on human audio perception, easy to use and configurable.
www.tokyodawn.net www.tokyodawn.net
Click to read more...
 
This was a handy post by Fabien on GS regarding Arbiter

Static EQ: Level independent, changes freq balance, changes dynamic structure.

Absolute Dynamics EQ (e.g. Nova): Level dependent, changes freq balance, changes dynamic structure.

Relative Dynamics EQ (Arbiter style): Level independent, changes freq balance, does not change dynamic structure.

Wideband dynamics (e.g. Molot/Kotelnikov): Level dependent, does not change freq balance, changes dynamic structure.

GS doesn't allow to draw a table, but you can maybe see the Arbiter "style" filling a gap, something neither EQs, compressors and standard dynamic EQs can do.
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psy dive said:
I'm too dumb for those. But they do look nice!
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Nah. The concepts are pretty straightforward - the best way to use all of them, or in combo, is maybe TBD. Here's my take:

Ultrasonic - if you work above 48k sample rate, put this into your mixbus (Ultrasonic has been around along time, this is a new version... you can find advice on how/where to use it over the last several years)

Elliptical - control low frequencies in the side channel in a stereo signal, especially useful for mastering to disc or vinyl

Infrasonic - control low frequencies in a mono or stereo signal, especially useful for mastering to disc or vinyl

Arbiter - control targeted frequencies, de-ess, de-pliosive, etc., more similar to automatic spectral EQ tools from others (but not the same)

I bought the bundle even though I don't need Ultrasonic, per se, since I work at 48k to use some basic ADAT.
 
All but Ultrasonic updated to 1.01 to fix some bugs.

TDR Collector manager software is really efficient and fast to update everything.

EDIT: now most/all are 1.02
 
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Right as I finally decided to go for Infra+Elliptical they went off sale lol. These do such a good job of trimming unnecessary features down to only what you want, for certain stuff you do all the time, stuff that takes multiple plugins to accomplish to the degree you can with these in really a couple of clicks.

Until next sale, I think I can get that workflow going with what I've already got and some macros.
 
Elliot A said:
Right as I finally decided to go for Infra+Elliptical they went off sale lol. These do such a good job of trimming unnecessary features down to only what you want, for certain stuff you do all the time, stuff that takes multiple plugins to accomplish to the degree you can with these in really a couple of clicks.

Until next sale, I think I can get that workflow going with what I've already got and some macros.
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Still $50 at Audio Deluxe for the bundle
 
I totally missed that, lol. Thank you. Truthfully, Kirchhoff does most of this, so I might just pick up Spectre? The TDR filters are such a natural workflow, though, something so purpose-built is easy to call up and use without as many choices to be made.
 
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Elliot A said:
I totally missed that, lol. Thank you. Truthfully, Kirchhoff does most of this, so I might just pick up Spectre? The TDR filters are such a natural workflow, though, something so purpose-built is easy to call up and use without as many choices to be made.
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Gonna guess these may do it better/different (?) than Kirchoff and also as dedicated tools. From what
I've read by Fabien, dismissing them because you think you already have a tool that does what they do may be incorrect. But I don't know all the tools, so I just suggest learning more before making a decision.
 
I bought the bundle and I must say I'm very surprised by the sound and the usefulness. Great stuff, very simple, and I don't think I can do the same with any of the 400 other plugins I've got.
 
Prism is fantastic as well. Somehow i can not get it to open in fullscreen on my secondary monitor. It always goes back to my main monitor. Anybody else having this issue?
 
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vitocorleone123 said:
Gonna guess these may do it better/different (?) than Kirchoff and also as dedicated tools. From what
I've read by Fabien, dismissing them because you think you already have a tool that does what they do may be incorrect. But I don't know all the tools, so I just suggest learning more before making a decision.
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It's certainly possible. One thing for sure is that the only plugin I have with subharmonics generation is MBassador and it's not... very quick to use (rtfm?), but I have never thought to use subharmonics anyway. I'm not even confident I can hear the difference in the TDRs' subharmonics when toggling on and off.

Everything else though, Kirchhoff does indeed have a relative detector and continuously variable slopes, and with a little bit of futzing with the extra parameters after setting Kirchhoff to exclusively look 100% at the relative signal strength, both relative dynamic EQs appear to behave very similarly. But they have different parameterization, and probably a little bit of a different architecture, so it's... not super clear cut.

Really, I just need fewer plugins. Please don't ask me how my black friday went :rolleyes: haha
 
Here's a bit on how Arbiter works, from Fabien (at GS).

Arbiter's mechanism is strikingly simple at its basis.

It takes the ratio (= in dB, the difference) between band of interest and wideband, and use this info to modulate gain in some way, either the band itself, or the wideband (in wideband mode).

That makes it so musically unobtrusive, we compare a part of the signal with the whole "itself". Naturally, these two must be very similar, so most distortion produced in the detection process will cancel out.

The detection is not just RMS, it's in fact quite sophisticated to allow musical action over the full bandwidth, almost free of distortion. This explains the CPU load. It's also oversampled to "shield" the modulation from producing aliases, something that would be really stupid in a deEssing scenario.
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More on Arbiter

Remember Arbiter doesn't measure a signal and acts on it, it compares two tightly correlated signals and acts on the difference between them. This is much different to traditional dynamic range compression timing.

The detection timing/smoothing itself is on the rocket science side, worthy being called automatic or self adjusting. But the TIMING control itself just smoothes it further in a mostly linear sense, without any A/R, just a low-pass on the control signal essentially.
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Also, from Fabien, regarding the dynamic bump feature

RMS of subtracted by high-pass filtering signal is calculated and a bell boost that adds back the same amount of energy is applied. The boost amount is limited though.

It means, if there's no signal below cutoff frequency, the bump is not applied.
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And why TDR plugin oversampling is above average in sound and lower cpu

Don't tell anyone... But aside proper filter specification for the task at hand, our trick is to resample only the action, not the input. At least wherever it is reasonably possible. We also put huge effort into bandlimiting our algorithms at their core.

As a simple example, say you need the absolute of a number to detect gain, i.e. an abs(x). This function is not bandlimited, even discontinuous in fact. If we come across such a case, we make sure to find a smooth approximation, one that has a predictable bandwidth extension. A first, naive, solution to this could be to square the value instead. You know the bandwidth can only double in this process, making it easy to plan for it. But now the resulting values are squeezed of course, but that's the basic idea.

BTW, the same is true for just any "if(){}else{}" in the audio code, but it's possible to bandlimit them to some predictable degree.

Now this won't fully antialias an algorithm, but greatly relax the responsibilities of whatever resampling is used to really antialias the system to specs.

Thus, it's not really the filtering/resampling itself, it's how we intertwine it with the algorithm.

Further, as long you don't mess with the original, but only affect the "action", the operator will tolerate most side effects imposed by resampling (slight blurring, reduction of bandwidth, maybe even phase shift). Simply because he doesn't know what he "misses out" :D
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Here's what someone wrote on GS, if it helps, as to why they were getting them

Here's what would make me use one over another "classic" EQ:
  • Infrasonic: mixed phase mode, various compensation options, accurate visualisation of very low frequencies.
  • Ultrasonic: crazy steep filters (w/ dynamic mode and shaping possibilities), accurate visualisation of very high frequencies, linear phase with low CPU load.
  • Elliptical: *very good sounding* compensation options (which are really not that common).
Plus, all instances can be globally bypassed across a whole project to easily evaluate their cumulative effect.
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Overview by Dan W



Like all TDR plugins, these are some brilliant tools and I was satisfied buying them immediately without even doing a demo upon release (admittedly, I’d been using the old Ultrasonic plugin).
 
I’ve asked this a few places but curious to check if folks here have thoughts:

How does Arbiter compare to using a single dynamic cut in Pro-Q 3 using automatic threshold?
 
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