DEEP plugins now available

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This topic contains 50 replies, has 30 voices, and was last updated by Profile photo of KeithJ A&H KeithJ A&H 2 years ago.

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    Profile photo of monki

    For those of you who have already used these plugins in another console (GLD or DLive), could you describe your experiences with them a little?

    I have tried to look for reviews on these plugs and there doesn’t seem to be anything about them online.

    Listening to the demos gives me a feeling that the quality of processing here is somewhere along the lines of UAD mk I plugins, like LA2A mk I and 1176 mk I… Would this sound like a fair assesment to you?

    Cannot really say I hear a lot of difference between the different algos upon casual listening. And no demos of how the GEQs sound??

    Profile photo of lightingman117

    These look great!

    Super excited to use them!

    To anyone wanting to experiment, I suggest running pink noise through a channel and then testing the deep processing plugins to hear how they sound. (you can also use multitracks).


    A question.

    Given these replace the stock processing for each channel is it possible for us to run multiple deep plugins per channel?
    For instance, say you release EQ deep plugins as well as more preamp emulators. Would we be able to run a pre-amp, deep EQ, and one of the deep compressors on all on the same channel?

    Lastly, I agree much too expensive and annoying that it is tied to the hardware. I might mix on 5x different SQ mixers; I want to buy one set of plugins for MYSELF (not a specific hardware unit). The expense of waves will quickly be surpassed by the expense of the plugins.

    $300 for 5x Compressors
    $100 for GEQ
    $300 for 5x FX
    $300 for 3x Dynamics
    $300 for 5x FX
    $1300 – I can buy a waves card & plugins, now I can run on my laptop or get an impact server for $1k. Now, this can be used on ANY SQ mixer.

    Profile photo of KeithJ A&H
    KeithJ A&H

    Hi @lightingman117,

    Yes, one of the main benefits of DEEP plugins is that they are embedded directly in the channel in place of the stock processing, so you can use multiple DEEP units on one channel, and on every single channel, without any added latency at all.

    As a rather extreme example, you could have a mic (or line) patched to an input channel running the DEEP Tube Stage Pre, HPF, Gate, PEQ and a DEEP compressor. Then route this through a group with a DEEP GEQ, PEQ and another DEEP compressor. Send this group to an Aux with another DEEP GEQ, PEQ and a third DEEP compressor. Finally send to a Matrix for a final round of DEEP GEQ, PEQ and DEEP compressor then route to an output and you’ll still have less than 0.7ms of latency from analogue in to analogue out.

    I can’t comment on future releases, but we’ve certainly had a lot of requests for more plugins already!


    Profile photo of JoelKlein

    Limiter/Maximizer and a 4 band compressor is my top priority…

    Profile photo of lightingman117


    Can the 76 or 16T fulfill the limiter need for you?

    Also, Thanks, Keith!
    && Yes, MOAR plugins!!

    Profile photo of JoelKlein

    The 16T Sounds best to me to control a singer live when they “feel” the compression they go nuts. I must have a transparent Limiter to just stand guard for those hype moments. Let them have as much dynamics as they wish, I”m not here to control their dynamic range, (although O would love to…) but a brick wall limiter is a must.

    From the audio samples, online the 16T sounded the best by not destroying the feel of the transient peaks. I want to know and see the actual settings they used to create the sample, not just a blind audio samples!

    are those 76 or 16T brick wall limiters?

    Profile photo of Bo James
    Bo James

    I do hear some distinct differences in the compressor series. As for the GEQ, what’s the significance of adding GEQ plugs when there are already GEQ’s built in across the board? For those who have bought the GEQ series, is there a huge difference between the stock GEQ and the plugs?

    Profile photo of Mike Storm
    Mike Storm

    Bo James, Proportional is much smoother at summing frequencies, for example if you grew up with the classic 60Hz bell-shape on your graphics for that extra punch, it’s way more musical than the onboard graphic.
    I don’t get the Digi-Q though. If I wanted surgical eq for PA tuning, I would get a Lake.

    Profile photo of monki

    Surgical EQ is very useful for vocals IME. I am getting into the habit of sending my vox to a hus just to get flexible subtractive EQ, that digiQ GEQ could be a great tool.. But without demos I cannot buy.

    Profile photo of L

    i like the the compressors and graphic eqS, i bought them all they are great and thanks Allen & Heath. also the touch and drag function of the peq. you have been very buisy and i love all of the other features you have added PLEASE PLEASE PLEASE Add a Good RTA overlay for the graphic and parametric eq and graphic eq and a multiband compressor. THANKS FOR ALL OF THE HARD WORK THAT YOU HAVE ALREADY DONE IT IS GREAT.

    Profile photo of Tony

    I think I have to agree with others here that the locked-to-one-mixer licensing scheme hurts the value proposition of the DEEP plugins. It feels like they should either be less expensive, or portable.

    If I were the type to fly to gigs (I’m not), and had paid for these plugins back at home, I’d be rather bent out of shape if my show files didn’t work on a hired board. As it is, I do have someone flying *to* one of my shows in a couple of weeks that is showing up with mix presets for the SQ I’m supplying. It isn’t hard to imagine that if this same situation happens six months from now that guy could be putting me on the spot for (not) having some plugin or another.

    That said, most of the time I’m doing the mixing, on my own SQ, and the convenience and presumed robustness of embedded processing/FX are hard to deny. If/when you release plugins that are on my must-haves list, you will almost certainly get (some) of my money anyway. A multiband compressor and some variant of a subharmonic synthesizer would be impossible for me to ignore. I assume that’s how you priced your plugins, and on a onesey-twosey basis, it holds up well.

    But… if these plugins never materialize, or if in the (really unlikely) event it turns out that I feel the need to buy every last one of your plugins in order to keep myself or my clients happy with the SQ, I think I’d have to admit I’d bought the wrong board, sell it, and go out on the used market and buy GLD80 or 112. Or maybe blow the $1500 to get a Waves solution working with the SQ and just use my existing plugin collection.

    Profile photo of Audiodreams

    After some concideration I bought the compressor bundle. Now I can’t wait until next gig to try them out. Did play around with them at home and they sure sound great. 16T is the one I’ve missed the most I guess (have a GLD112 and done a lot of work with Dlive). They sure make my toolbox a bit more complete. And now that I have them, I can’t imagine going back.

    It will be interesting to see how this model of buying additional plug-ins will work out in the long run. How many percent of the total amount of SQ:s out there won’t be upgraded. And will it add value to the desk on the secondhand market if your desk have plug-ins?

    Anyway, thank you Allen&Heath for the great addition to my SQ-6.

    Profile photo of Tony

    I imagine A&H does plenty of competitive market intelligence work and probably knows this already… but for what it’s worth, the SLIII 16/24/32 etc, boards’ roughly equivalent plugins are being sold for roughly the same money being charged by A&H for the SQ’s plugins. However, in the case of the SL plugins, the one purchase gets you 5 activations, across the whole model line, including the use of those plugins on that same company’s DAW product. That seems like a decent value to me, for the customer and the company.

    I feel the need to add the following in the spirit of full (ish) disclosure… I do not work for the company that makes the SLIII, but they do give me a fair amount of their equipment for free. I continue to buy A&H equipment with my own money anyway, because I love using your gear for live work. As I can’t rule out that this might make me more sensitive to ‘value’ issues than a normal SQ user, I will avoid further posts of this nature, at least in regard to that vendor’s products.

    Anyway, I loved the Qu, and really like the SQ so far as well. Great work, thanks for creating such a great tool.

    Profile photo of Scott

    As a GLD / dLive owner I can say that the plug-ins are great and I think that selling them as an add-on is also a good idea on A&H’s part because it allows users to spend less money up front, and then add on to the system as their needs grow.

    They are included in the higher product lines, but those also cost more up front too. We also have some Qu systems in our inventory, and plan on replacing them with SQs eventually. I think the way that these add-ons are made available makes sense because the SQ really isn’t priced all that much higher than a Qu initially, but SQ gives you that added expandability that you don’t have on Qu.

    Profile photo of Craig

    It’s great to see these plugins available now, and am considering purchasing the upgrades for our church’s SQ5. One plugin that would be very useful to us would be a de-esser. However, as I understand it (likely wrong), the de-esser would substitute the stock channel compressor section. We would like to be able to use a de-esser to eliminate the sibilance, as well as a standard compressor to control the dynamics of different speakers. Would this be possible if there was a de-esser dynamics plugin?

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