Can anyone point me to an ARA-enabled VST3 EQ I can use in Sonar's Region FX?  I need to pummel some pesky plosives.  Thanks!

Why does it need to be ARA-enabled? Also, there are better ways to get rid of plosives than with EQ. I can elaborate if you want.

Anderton
Why does it need to be ARA-enabled? Also, there are better ways to get rid of plosives than with EQ. I can elaborate if you want.

Hi Craig,
 
The techniques I've seen look like slicing the plosive chuck of audio out of the track and moving it to another track where a high pass is applied.  I thought Region FX would be a good way to precisely apply EQ to the unwanted transient without all the track surgery.  I imagine I could find similar success with regionally applied compression or maybe side-chaining with a super narrow band on the plosive.  But if I could confine the processing to just those several thousand samples per plosive I could avoid processing the entire track.
 
So, to answer your question, it doesn't need to be ARA-enabled, it just has to work while doing as little collateral damage as possible.  FYI, both a Stedman metalic filter and a mesh filter were employed while recording, but the delivery was especially emotive, and close.  I like the track a lot but the explosions must go.  Totally open to any great suggestions for plosive banishment.  Thanks!

First, if you have the bucks, the Pauly Superscreen is a quantum improvement over any pop filter I've ever used. It's amazing (and at that price, it should be).
 
Second, here's what I do for plosives.
 
1. Add a steep highpass filter that's below the range of the "real" signal so the signal you want to keep is not affected by the highpass filter. This won't eliminate the plosive, but it will make the next two steps more effective. The ProChannel's 48dB/octave highpass filter is great for this.
2. Split the clip at the precise place where the plosive starts.
3. Fade in the plosive using the slow fade-in.
 
By varying the fade's duration, you can dial in the desired amount of plosive reduction. I use the same technique to reduce, but not eliminate, breath noise.

Cool.  I'll give it a shot.  Thanks.

Cool tip, Craig. I usually use MB compression, but this seems more "surgical".

Craig. I eliminate breath noise by not breathing. Yuk yuk.

Sanderxpander
Cool tip, Craig. I usually use MB compression, but this seems more "surgical".

I feel plosives are supposed to be there to some degree; the problem is when they're too loud. The fade-in approach lets you adjust volume without artifacts, so that's why I prefer it.

I typically do as Craig is recommending... But I was just thinking... It might be interesting tolit it out in the same way and use the Transient Shaper?

Keni

Anderton
First, if you have the bucks, the Pauly Superscreen is a quantum improvement over any pop filter I've ever used. It's amazing (and at that price, it should be).
 
Second, here's what I do for plosives.
 
1. Add a steep highpass filter that's below the range of the "real" signal so the signal you want to keep is not affected by the highpass filter. This won't eliminate the plosive, but it will make the next two steps more effective. The ProChannel's 48dB/octave highpass filter is great for this.
2. Split the clip at the precise place where the plosive starts.
3. Fade in the plosive using the slow fade-in.
 
By varying the fade's duration, you can dial in the desired amount of plosive reduction. I use the same technique to reduce, but not eliminate, breath noise.

Hi Craig..

Not to derail this thread, but a quick question if you please?

I was just looking at the supers even from your link... Other than it's unique mounting ideas, how much better is it as a surface than an original Popper Stopper?

The Popper Stopper does fine for my needs, but I'm good about controlling my plosives most of the time... But I've had some clients... ;-)

Keni