Following the success of Toontrack’s EZmix, the new and completely overhauled EZmix 2 continues to build on the same fundamental idea: having pro-designed effect chains for instruments and channels found in every recording session combined in one powerful mixing tool. With the vast collection of ready-made presets, mixing music is not only easy and incredibly fast – you end up with results second to none.
All the previous functionality and content from EZmix is still intact and working in EZmix 2. The major difference however, is that the new and revamped version comes with settings based on high-tech mastering effects, new reverb algorithms, guitar/bass amp and cab simulation, a completely revised interface and a large core content boost. Essentially, EZmix 2 is a mixing engineer, mastering suite and guitar/bass amp all rolled up into one package.
Start mixing – it’s EZ!
EZmix 2 is a powerful package that combines a multitude of quality studio effects with the know-how of professional engineers. As soon as you select one of EZmix’s pre-designed settings, a complex chain of effect units instantly loads seamlessly in the background. See Details for in-depth information.
The professional touch
Making professional mixes has never been easier! Having a vast array of available effects to choose from, the signal-chain settings in EZmix 2 and all EZmix Packs were carefully crafted by seasoned mixing engineers. Lend some pro secrets and platinum record magic to your music by letting seasoned veterans do the tweaking for you!
Guitar/bass amp and speaker simulation
EZmix 2 has a large amount of ready-made settings based on some of the most classic vintage and contemporary guitar and bass amps, speakers and stomp boxes. Whether you are working stand-alone or in a host; plug your instrument straight into your sound card and select a preset!
Low CPU usage
Combing several plugins on multiple channels can slow down even the fastest computer. With EZmix 2 you only use ONE instance on each channel instead of MANY and end up reducing your CPU usage to a minimum. With EZmix 2 you can make flawless mixes on low resource systems or in mobile situations!
EZmix 2 - product details
If you insert EZmix 2 on your channel and choose a setting from the browser, a more or less complex signal chain of different effect units will open up in the background of EZmix 2. All the work of combining, routing and tweaking the individual effects has already been done for you by experienced mixing engineers. With only ONE mouse click you immediately get the perfect sound for your audio channel, subgroup, AUX or even master fader.
For example: by simply choosing the setting “Ambient Vocal”...
…the following chain of effect units automatically opens up and works on your sound:
EZMIX 2 EFFECTS
EQs – tweaking the frequency distribution of the audio signal
• Parametric EQ: This is a dedicated 5-band equalizer with full-parametric bell-filters that allows for a very flexible and exact tone shaping of the signal.
• LPF (Low Pass Filter): A low pass filter passes the lower frequencies of an audio-signal and attenuates the frequencies that reside above a certain cutoff frequency. The slope of the high frequency roll off determines how radically these frequencies get attenuated by the filter.
• HPF (High Pass Filter): A high pass filter passes the higher frequencies of an audio signal and attenuates the frequencies that reside below a certain cutoff frequency. The slope of the low frequency roll off determines how radically these frequencies get attenuated by the filter.
Dynamics – tweaking the dynamic distribution of the audio signal
• Compressor: A compressor helps to reduce the dynamic range of an audio-signal. This is the range between the highest peaks and the lowest levels present in a signal. The compressor reduces higher signal peaks that go above a given threshold by a certain ratio. A ratio of 2:1 means that every 2dB that go into the compressor and exceed the threshold will be passed through to the output with only 1dB. A compressed audio signal is much more present, powerful and can be placed more easily in the overall mix.
• Limiter: A limiter is a unit similar to a compressor, it also reduces the dynamic range of an audio signal but does that in a much more radical way. Limiters usually have fixed ratios settings of at least 10:1 or much higher, so if the incoming audio signal exceeds the threshold it's output level practically can't go reach above this barrier.
• Gate and Frequency Gate: A gate only passes audio signals to the output that exceeds a certain adjustable threshold. Lower level signals automatically get cut off. This unit can help to eliminate unwanted low-level noise from an audio signal. In combination with a HPF or LPF, this effectively keeps all unwanted signal out of the mix.
• Transient Shaper: The very first initial impulses of an audio signal are called transients. They're extremely important in shaping and defining the character, impact and color of a signal. This effect unit helps to exaggerate or attenuate the transient (attack) and/or the tail (sustain) of any audio signal.
• De-Esser: This effect is a compressor unit that only reacts on a rather narrow pre-filtered part of the frequency range of the audio signal. Traditionally used to eliminate the high-frequency S-sibilants, the compression only effects the relevant frequencies that are isolated by a very narrow Notch EQ-filter. In an alternative setting, these frequencies can also act as trigger for a compression of the whole high-frequency range of the audio signal.
• Multi Band Compressor: This special type of compressor offers individual compression settings of threshold; attack and release time and makeup gain in up to four isolated adjustable frequency bands. This allows a compression that is very flexible and that can be perfectly customized for the actual audio signal and its dynamics in the various frequency ranges. For example, a tight compression of the low end gives control over the energetic bass and low mid frequencies, whereas in most cases a lighter compression of the higher frequency range is needed. Multiband dynamics are the perfect compression tool for controlling and shaping signals on submix-channels and master faders.
• Mastering Limiter: This type of limiter is special because it is generally used as the last unit of the signal-chain on a master fader. Its purpose is to set and control the maximum output level of the mix and to prevent any signal to pass through this upper level barrier. To realize this, the limiter circuit utilizes a dedicated look-ahead functionality that helps to detect any high level peaks that need to be attenuated as fast as possible. This mastering limiter module offers very fast attack and release times, a soft knee option and a very transparent sound shaping during compression.
• Filter: This is a creative filter that can be modulated by many different sources, a technique that can produce very complex sounds. Possible modulation sources are an LFO (free running or synched to the host's tempo), an envelope follower or a programmed sequence (free running or synched). The parameters of the various filter types LPF, HPF, BPF, Band Reject offer a wide range of possible sound manipulations.
• Aural Exciter: This sound module is very special and produces subtle effects that greatly help to shape individual sounds in the mix. It generates synthetic harmonics on the transients and adds more details to any kind of signal.
Distortion and Saturation
• Distortion: If you distort an audio-signal this adds special overtones to the audio resulting in an "overdrive" effect sound that's generally associated with amplifiers, effects pedals and also clipped audio. The effect can add richness, warm and round tone and fullness of the overall sound. In extreme settings distortion can sound "thin" or "buzzy".
• Special Distortion: Big Muff Pi. – Pure Metal distortion.
• Tape Simulator: This module simulates the various effects of an analogue tape recorder including bias, tape speed, wow and flutter. Tape simulation helps to produce a rich and full sound and the gentle saturation effect works as subtle compression and can help to glue signals together with a very characteristic warm edge.
Guitar Amps, Cabinets and Effects
• Amplifiers: Emulations of different amplifier models are used to create the classic and complex distortion and guitar amp settings in EZmix 2. The settings feature emulated sounds of some of the most famous and frequently used amps in vintage and modern recording.
• Cabinets: The sounds of the various amplifier models are combined with impulse responses (IRs) of different cabinets to simulate the exact sound of an amp cabinet combination. Lots of IRs exclusively recorded by Toontrack are provided and completed by an 8x10" and a 1x15" bass cabinet.
• Overloud: This is a very special tone enhancer processor that adds warmth and vibrancy to the tone by applying a combination of compression, EQ and harmonic generation.
• Bitcrusher: This unit reduces the bit resolution of any audio-signal and simulates a lower sampling rate. The characteristic effect results in a harsh distorted type of sound.
• Wah-Wah: This is a very special type of guitar filter that produces characteristic vowel-shaped sounds. Normally it is controlled by an external device, by an envelope follower or a dynamic LPF.
• Vibrato: This module simulates a classic guitar effect that produces a vibrato tone of the audio signal.
• Tremolo: A similar effect to the vibrato but with its own characteristic sound. It emulates the circuitry of a classic rock amplifier and can also be used as a VCA based circuit for more general sound effects.
• Rotary Speaker: The rotary speaker effect is based on the circuit simulation of the Leslie tube amplifier and on the impulse responses recorded from a set of Leslie 122 speakers.
• Octaver: This effect is an emulation of one of the most classic octave pedals and adds another higher or lower octave to the audio signal.
Modulation Effects and Stereo Field Manipulation
• Chorus: This module simulates the ensemble effect of multiple identical instruments playing the same part with slight variations in tempo, sound and pitch. It results in a shimmering, widening and thickening of the audio signal.
• Flanger: A flanger produces a constantly shifting and phasing tone of the original audio signal by splitting it up into two signals and dynamically delaying one against the other. Because of its warm and analogue sound, flanging is a very much-appreciated sound by guitarists and bass players. The EZmix 2 flanger is an emulation of a classic pedal frequently used on recordings.
• Phaser: Modelled after one of the most famous and versatile phaser effects. The effect is similar to flanging but with a slightly more technical and phasing tone. Often used on lead or melody guitars as well as keyboards.
• Stereo Enhancer: A very complex module that generates stereo widening effects. With this tool one can fully control the stereo position and width of a stereo track without adding artificial stereophony. The dedicated shuffle control creates an increased stereophony in the bass frequencies in order to add space to a mix. The shuffling technique is largely used in broadcast and cinema applications.
Reverbs and Delays
• Reverbs: The various EZmix 2 settings benefit from various state-of-the-art reverberation algorithms for room, plate and spring reverb programs. They all utilize the professional algorithms of Overload’s "Breverb" and "SpringAge" plugins.
• Hall Reverb: Produces the sound of a "hall" type acoustic space – large, long and rich.
• Inverse Reverb: This effect results in a reverse characteristic than a classic reverb. Its sustain grows and fades into the following sound as opposed to gradually fade out and disapear.
• Tape Delay: This characteristic type of delay produces an echo-type effect. Typically a tape delay results in echoes that get increasingly more distorted with each echo-repetition.
• Filter Delay: Another type of specialized echo-effect, where the frequency of the echo-repetitions can be adjusted. This allows the echoes to react to different frequencies from the original signal.