NK Productions AEQ-550 Beyond Analog v1.3.1_WIN-R2R

均衡器插件NK Productions AEQ-550 Beyond Analog
VST插件格式：
VST3

NK Productions AEQ-550 Beyond Analog混合模拟台架均衡插件，基于经典分立运放4段控制台EQ实测建模，四种模拟引擎支持GPU运算，比例Q曲线，多硬件版本模式，带带通滤波、参考校准、模拟削波与无损过采样。

翻译：
AEQ-550
超越模拟（Beyond Analog）
模拟均衡器（EQ）建模插件——基于实测数据的四段式调音台均衡器，在硬件基础上进行了重构与升华。

基于经典的离散运算放大器（discrete op-amp）调音台均衡器建模。每一个频率档位、比例Q值（proportional-Q）曲线以及搁架式（shelf）滤波形状，均源自对真实硬件的精确测量与重构。

四种模拟建模模式
在CPU负载与还原度之间选择最适合的平衡点——从轻量级的传统设计，到能够实时追踪电路动态变化的建模方式。其中两种“混合（Hybrid）”模式可交由GPU处理；另外两种则在CPU上运行——这并非因为功能缺失，而是由其工作原理决定的。

Standard（标准模式）
一种还原硬件静态特性的传统设计，也是CPU占用率最低的模式。它能响应即时输入的信号电平，从而呈现出硬件在不同电平下的行为特征，但无法模拟随时间推移而产生的动态变化。

Hybrid / Hybrid Hi（混合模式 / 混合高精度模式）
这是真正的混合模拟建模系统。它不仅响应当前的输入信号，还会考量近期的信号状态，从而反映出电路在上一时刻的驱动情况——这是静态模型无法捕捉的特性。其中的“Hi（高精度）”版本会回溯更长的信号片段，从而提升噪声表现与清晰度，代价是适度增加CPU负载。得益于DSP优化，Hybrid Hi模式甚至能降低CPU占用率。

Ex（专业模式）
采用了截然不同的建模方法，也是CPU负载最高的模式。它不只是回溯一段固定的信号，而是持续记录刚刚发生的状态并以此为基础构建下一时刻的响应，从而实现对硬件行为最精准的实时追踪。正是这种处理机制决定了它必须在CPU上运行。

源自真实的调音台均衡器
AEQ-550 “Beyond Analog”基于经典的离散运算放大器调音台均衡器建模——经过详尽测量后重构而成。每一个频率档位、比例Q值曲线、搁架式滤波形状以及FLTR带通滤波器，均源自真实硬件及其电路原理图。

参考校准（Reference Calibration）
确保预设效果符合设计初衷
预设（Preset）的设定基于信号以硬件参考电平（reference level）输入的前提。如果输入信号源电平较低，模拟电路级的激励程度就会不足，导致该预设原本所依赖的音色特征与谐波成分无法呈现。通常的解决方法是调整“输入微调”（Input Trim），但这会占用那个决定模拟电路级激励强度的关键控制参数。

“参考校准”（Reference Calibration）功能将这两者分离开来。启用 Ref Cal 模式（即 Unity 按钮的第三种状态）并运行“自动输入”（Auto Input）功能：测得的校准值会保存在设备内部，而不会写入“输入微调”参数中。旋钮位置保持不变，实际应用的校准量显示在按钮上；由于该校准值并非插件参数，因此它不会被固化保存到预设文件中。退出 Ref Cal 模式会停止应用校准，但系统会记住该数值；再次进入该模式时，校准值会直接恢复，无需重新测量。

01
将 Unity 按钮设置为 Ref Cal 模式（从 Off 状态连续点击两次即可）。

02
开始播放音频并点击 Auto Input。按钮会显示测得的校准值（例如 Ref Cal +6.2），而“输入微调”旋钮保持在原位不变。

03
自由试听各种预设。预设不会改变校准设置，且每个预设的表现都与原始采样设备上的效果完全一致。若更换信号源，只需再次运行 Auto Input 即可。

功能特性：
01
基于实测数据的 4 段均衡器 (EQ)
包含低频 (LF) 和高频 (HF) 的搁架式滤波 (Shelf)，以及中低频 (LMF) 和中高频 (HMF) 的峰值滤波 (Peak)。采用比例 Q 值 (Proportional-Q) 设计——即增益越高，频带越窄，完全还原真实硬件的特性。

02
Style B / A / BA 模式
提供两种经典版本（Revision）的风格，以及 Style BA 模式—​​—该模式将其中一个版本的 LMF 与另一个版本的 HMF 结合，实现了硬件本身不具备的组合方式。

03
FLTR 带通滤波
50 Hz – 15 kHz 带通滤波器，独立于均衡器工作——完全复刻硬件的运作方式。

04
连续调节与步进调节
既可使用硬件风格的步进式调节，也可在需要精细调整时切换为连续调节模式。

05
混合模拟特性
该调音台不仅拥有独特的音色，还会根据信号电平产生动态响应。这种响应特性被完整保留了下来，并额外提供 Boost（增强）模式，可进一步强化这种模拟特性。 06
削波器与过采样
可在 0 dBFS 处进行削波，或让其在硬件自身的削波点处发生削波。过采样（1× – 4×）可在不改变音色的前提下减少混叠失真。

原文：
AEQ-550
Beyond Analog
Analog EQ Modeling Plugin — a measured 4-band console EQ, rebuilt beyond the hardware

Modeled from a classic discrete op-amp console EQ. Every frequency step, proportional-Q curve, and shelf shape — measured from the real unit and rebuilt.

Four modes of analog modeling
Pick your balance between CPU load and reproduction — from a light, conventional design to modeling that follows the circuit as it moves. The two Hybrid modes can be handed to the GPU; the other two stay on the CPU, for reasons that come from how they work rather than anything we left out.

Standard
A conventional design that reproduces the hardware’s static character, and by far the lightest on CPU. It responds to the level arriving at that instant, so the way the unit behaves at each level is there — but not the way it changes over time.

Hybrid / Hybrid Hi
The Hybrid Analog Modeling System proper. Rather than reacting only to the sound arriving right now, it takes in the recent signal as well, so it also answers to how the circuit was being driven a moment ago — something a static model cannot hold on to. The upper one listens back further: noise performance and clarity improve, at a moderately higher CPU cost. Thanks to DSP optimisation, Hybrid Hi can actually bring CPU usage down.

Ex (Professional)
A different modeling approach again, and the heaviest on CPU. Instead of looking back over a fixed stretch of signal, it keeps hold of what just happened and builds the next moment on top of it, which is what lets it stay closest to the unit moment by moment. That same habit is why it stays on the CPU.

Built from a real console EQ
AEQ-550 Beyond Analog is modeled from a classic discrete op-amp console equalizer — measured exhaustively, then rebuilt. Every frequency step, proportional-Q curve, shelf shape and the FLTR band-pass is derived from the real unit and its schematic.

Reference Calibration
Presets that land where they were designed to
A preset assumes the signal arrives at the unit’s reference level. Feed one a quieter source and the modeled stage is driven less, so the tone and harmonics the preset was built on never appear. The usual fix — riding Input Trim — costs you the one control that decides how hard the analog stage is pushed.

Reference Calibration separates the two. Engage Ref Cal — the third state of the Unity button — and run Auto Input: the measured correction is held inside the unit instead of being written to Input Trim. The knob does not move, the amount in use is shown on the button, and because the calibration is not a plugin parameter it can never be baked into a preset. Leaving Ref Cal stops it being applied but remembers the value; step back in and it returns without re-measuring.

01
Set the Unity button to Ref Cal (click it twice from Off).

02
Start playback and click Auto Input. The button reads back the correction it found — Ref Cal +6.2, for example — while Input Trim stays where you left it.

03
Audition presets freely. None of them disturb the calibration, and each behaves the way it did on the machine it was captured from. Change the source and simply run Auto Input again.

Features:
01
Measured 4-Band EQ
LF and HF shelves, LMF and HMF peaks. Proportional-Q — push the gain and the band narrows, just like the real thing.

02
Style B / A / BA
Two classic revisions — or Style BA, which puts one revision’s LMF next to the other’s HMF. A combination the hardware never had.

03
FLTR Band-Pass
The 50 Hz – 15 kHz band-pass, working independently of the EQ — exactly as on the hardware.

04
Continuous & Stepped
Work on the hardware detents, or go continuous when you need between the steps.

05
Hybrid Analog Character
The console does not just have a tone — it reacts to level. That reaction is in here, with a Boost mode to push it further.

06
Clipper & Oversampling
Clip at 0 dBFS, or let it clip where the hardware does. Oversampling (1× – 4×) reduces aliasing without changing the sound.

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