Blue Cat’s Widening Parametr’EQ Tricks: From Subtle Depth to Dramatic SpreadBlue Cat’s Widening Parametr’EQ is a creative plugin that combines precise parametric equalization with stereo widening controls. It’s a powerful tool for shaping spatial perception in mixes—whether you want to gently add depth to a vocal or push a synth pad wide across the stereo field. This article walks through practical techniques and workflow tips to get both subtle and dramatic results while keeping mixes coherent and phase-safe.
How the plugin works (brief technical overview)
Blue Cat’s approach separates frequency control and stereo image processing. You can apply parametric EQ bands to sculpt timbre, and then use the widening controls to distribute selected frequency content across the stereo field. Because widening is frequency-aware, you can widen high frequencies more than low frequencies (or vice versa), preserving focus and avoiding low-end phase issues.
Key points:
- Band-selective widening: apply widening only to chosen bands.
- Mid/Side processing: the plugin typically operates with mid/side awareness so the center information (bass, lead vocal) can stay mono while side content is expanded.
- Phase and mono-compatibility care: good widening preserves mono compatibility by balancing changes between mid and side.
Preparing your session
- Use good monitoring — accurate nearfield monitors or quality headphones.
- Check mono compatibility often (toggle mono) to ensure widening doesn’t collapse important elements.
- Insert the plugin on a stereo track or bus. For instruments that must remain centered (kick, bass, lead vocal), consider keeping them mostly in the mid channel and widening only higher harmonics or parallel-split duplicates.
Subtle depth: three-step workflow
Goal: add perceived width and depth without making the source sound obviously processed.
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Gentle EQ shaping
- Use narrow-to-medium Q to remove boxiness or harshness (e.g., 200–600 Hz cut, 2–4 dB).
- Add a soft high-shelf boost (1–2 dB) above ~6–10 kHz to increase air that benefits from widening.
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Mild band-specific widening
- Target upper-mid and high bands (e.g., 2–12 kHz) and apply small widening amounts (+10% to +25% range, depending on plugin scaling).
- Leave low bands (below ~150–300 Hz) at unity or slightly reduced widening to keep low-end focused.
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Blend and check in mono
- Reduce Width or Side level until the effect feels present but unobtrusive.
- A/B bypass frequently; in mono, the change should not drastically alter balance.
Practical example:
- Vocal chain: gentle parametric cut at 300 Hz (-3 dB), gentle boost 8–12 kHz (+1.5 dB), widen 8–12 kHz band by ~20%. Result: clearer, more open vocal with center focus intact.
Dramatic spread: four techniques for big stereo impact
Goal: create wide, immersive textures that fill the stereo field dramatically without collapsing in mono or producing phasy artifacts.
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Multi-band widening with complementary EQ
- Use multiple bands with tailored Q: widen high bands aggressively (e.g., 6–20 kHz) and mid-high bands moderately (2–6 kHz).
- Cut conflicting frequencies between left/right complements—e.g., slight dip around 1–2 kHz to reduce masking of widened content.
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Parallel front-to-back illusion
- Duplicate the source track and process the duplicate heavily with Parametr’EQ: introduce wider settings, more extreme high boosts, and stereo spread.
- Use differences in EQ and time-based effects (very short delay, subtle chorus) on the duplicate. Pan or use mid/side so the duplicate enhances sides while original remains centered.
- Blend the duplicate to taste; this creates a wide layer that still respects the core.
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Automated widening movement
- Automate widening amount over time to create motion—slowly increase for choruses and reduce for verses.
- Combine with automated frequency focus: e.g., widen mostly highs during choruses, add mid widening during build sections.
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Use phase-friendly decorrelation
- Add subtle, non-delay decorrelation (slight pitch/chorus, micro-modulation) to the widened bands. Avoid long delays that cause audible echoes or phase cancellation.
- If the plugin offers a stereoize or decorrelator mode, use the lowest useful depth and test mono.
Practical example:
- Synth pad: carve low mids (250–500 Hz) with a -4 dB notch, boost presence at 3–8 kHz by 3–4 dB, widen 3–20 kHz bands by 40–60% on a parallel duplicate processed with subtle chorus. Result: a lush, expansive pad that still supports the mix’s low end.
Mid/Side balancing and mono-compatibility checks
- Keep the fundamentals (kick, bass, snare, lead vocal) predominantly in mid. Apply widening mostly to harmonics and side material.
- Use the plugin’s mid/side controls (if available) to reduce widening of the mid channel while boosting the side channel selectively.
- Always toggle mono at mastering or bus stages. If elements disappear or phasing occurs, dial back widening or adjust EQ to reduce conflicting frequencies.
Quick test checklist:
- Mono switch: no major level or timbre loss.
- Phase meter: no persistent large L-R phase inversions.
- Reference track: compare to professional tracks with similar instrumentation.
Creative sound-design uses
- Spatial doubling: widen slightly different harmonic bands between doubles to create stereo chorus without identical phasing.
- Vocal special effects: extreme high-band widening plus saturation gives a “shimmering” otherworldly vocal for bridges or breakdowns.
- Drum replacement/enhancement: widen cymbals and hi-hats in bands above 3 kHz to create a bright, airy kit while keeping kick/snare punch mono.
- Master bus subtle glue: on a master bus, apply very gentle widening on the top bands (1–3%) to add perceived air—use cautiously.
Common pitfalls and fixes
- Over-widening low frequencies — causes loss of punch and mono collapse. Fix: low-cut widening bands or keep lows in mid only.
- Audible phasey artifacts — reduce widening amount, use narrower Q, or add slight EQ differences between sides.
- Loss of focus — automate width by section or remove widening from lead elements.
Practical presets and starting points
- Vocal — Depth: EQ cut 200–400 Hz (-2–4 dB), boost 8–12 kHz (+1–2 dB), widen 8–12 kHz at 15–25%.
- Pad — Wide Lush: cut 300–600 Hz (-3–5 dB), boost 2–6 kHz (+2–4 dB), widen 3–20 kHz at 40–60% on a parallel track.
- Drum Overheads — Airy: high-shelf +2–3 dB above 6 kHz, widen 6–20 kHz at 25–40%.
Final tips
- Use small steps and listen critically; widening is often more effective in subtle increments.
- Compare in several listening systems (headphones, monitors, phone) to ensure consistency.
- Combine parametric EQ and widening creatively: the EQ shapes what is widened, which is the heart of the plugin’s power.
If you want, I can write preset parameter values for a specific DAW, or analyze a short audio clip and suggest exact band settings.