Hot answers tagged equalization
12
You should start with each EQ band at zero db (neutral), and adjust volume to a comfortable level first using the mixer faders or volume control.
From there, you should listen for peaks in the sound, freqencies that seem to stand out above the others. Find a fader or EQ frequency that influences this particular peak the most, and apply a small amount of ...
7
The Mixer pictured above, publishes its equalizer characteristics in the manual as:
Hi- 13KHz
Mid-1KHz
Low-70Hz
with 6dB gain and infinite cut on all controls (infinite cut is questionable).
Typical controls have symmetric boost and cut.
Typically in this kind of eq system (having only 3 bands), the Hi and Low bands are implemented with shelving ...
6
Try to find the sweet spot in each and give it a little EQ boost, while cutting that from the other tracks. Also, cut areas where the tracks have no contribution, e.g. below 100hz for vox/guitar, and above 10khz for the guitar (e.g., you'll have to play with it).
A more advanced trick is to use side-chaining compression between the vocals and one or both ...
6
The problem with electronic music is that you can add several drum tracks, pads, leads, arpeggios, vocal bit, aux percussion, etc. Then you'll apply some efx and you have a huge mess. If you are really having issues and can't make a mix work, think about composition as well. Maybe two pads are not needed while that organ is also going on? Or maybe you're ...
5
If your recording levels peak at around -3dB to -6dB then there is nothing wrong at all with the recording level you are setting on the Zoom H2. The reason your recording sounds quiet compared to commercial recordings is that they have been compressed, often heavily, in order for them to sound as loud as possible, but usually sacrificing a lot in terms of ...
5
Do you have your kick on a separate track? If so, there is this cool plugin that will trigger a midi note depending on the sound input. You could use that to trigger a synth, or your own sample as Robert Harvey says.
As for transforming this sound:
First thing you notice is that there is a delay in the left channel. This reduces the impact as the sound is ...
5
This is going to depend greatly on each individual person's creative sensibilities.
For myself, I'm always doing rough mixing during the creative process, because I want to see how a new sound "sits in the mix." So the mix is an integral part of my song-making. But this works better on "old-school" equipment (outboard synthesizers, effects and mixers), ...
5
As we tend to work with up to 50 separate tracks before mixdown, including synths, drums, live instruments, vocals etc.,getting this right is essential in my band.
Core to our approach is compression and equalisation:
Every channel has a compressor added for final mixdown to ensure we have a predefined range per channel
Each channel has an equalisation ...
5
Notch filters are perfectly valid in certain key cases to deal with a particular problem with the sound. For example, when trying to deal with a single frequency buzz (like a 60hz line buzz) it is ideal to cut a very narrow band to deal with the problem. In general however, this is only true when troubleshooting a problem with the recording. For a general ...
4
Best I've been able to come up with to this one (and I'm interested in a better answer here myself) is a GearSlutz thread on what (if anything) anyone is doing differently to master for streaming audio. The answer from Lupo is relevant and interesting. He suggests:
Level is important. 'Hidden' overshots will be revealed through coding and decoding. ... ...
4
In my opinion: Nothing. That's an effect of the open tuning, and you also often have longer sustains on the open strings. The chords themselves sound different, with different emphasis on different strings.
It's neither better nor worse, just different.
In each case the guitar, mic and amp (if any) will have a big impact as well, so the only thing you need ...
4
This may sound really obvious, but the main constraint will be how you like your music to sound. If you try to drop a particular frequency range it will change how the music sounds. For example if you roll off the high frequencies it will start to sound like you are muffling the music with cotton wool. Possibly not the effect you want, so the simplest way to ...
4
You wont get that effect with just an EQ.
try using a bitcrusher effect to reduce the bit-depth to 8 or 16 bits, maybe some saturation and a lowpass at the end to tame some of the distortion.
The characteristics of these old game sounds come almost entirely from the crazy low resolution and data compression necessary at the time to get the samples onto the ...
3
Gravitas,
As a loudspeaker designer let me state, unequivocally, that "dumb" digital room correction with time reversed gazillion tap FIR filters is a terrible idea.
That said, if you want to play with it affordably have a look at Brute FIR. You'll need an acceptable quality omni microphone, like the Audix TM1. There are plenty of reasonably priced usb ...
3
You'll want to try Room EQ Wizard.
Pretty full featured, as per the website:
REW is a Java application for measuring room acoustics and analysing
room and loudspeaker responses. It includes tools for generating test
signals; measuring SPL and impedance; measuring frequency and impulse
responses; generating phase, group delay and spectral decay ...
3
I listened to the song, and it almost sounds like the bass drum is not a bass drum at all, but more like a distorted puff of air. If I were trying to reproduce that sound from scratch, the first thing I would do is try gently blowing into a cheap microphone. I would bet you dollars to donuts that's how Radiohead created the sound originally.
3
Corey,
First let me say that the principal of Rational Acoustics is a friend of mine, I have beta access to their product, and I think very highly of SMAART 7. It is the easiest to use of the major multi-channel FFT measurement programs (i.e. SMAART, Systune, and SIM3). I also own Systune. Now that disclosure is out of the way, answers.
The best bang for ...
3
I think this is largely marketingspeak. And they stole it from engineers who were trying to convey that some EQ voicings are just more right than others when you're working with EQs that have limited controls.
In particular, when you've got an EQ that's not fully parametric, or configured with enough bands to cover the entire audible frequency spectrum, ...
3
This kind of thing doesn't generally come from applying effects, but from the right source sound in the first place. I would try many kinds of sounds from whatever origin you can think of. For kick sounds, once I miked myself slamming the sofa I was sitting on with my palm, sounded very organic. At some point you are bound to get a sound that you will ...
3
Yes and yes! Unless you know that your music will be played on equipment that can reproduce those subsonic vibrations, you should remove them. Otherwise, they are just eating up space in your mix.
It can also help to remove audible low frequencies. It seems counterintuitive, but a kick drum often sounds better if you cut out some of the lower frequencies. ...
3
Another point to consider is the harmonic content of the instrument that you are EQ'ing. Above (and sometimes below) the fundemental note and frequency of the instrument there will often be harmonic and distortion that make up other portions of the sound. This is the main reason that you can't just slash away everything but the fundemental. Sure you would ...
3
I am assuming by "lowgain attack" you mean "slow attack." A slow attack time, allows the original transient to come through before engaging the compression circuit. You want a fairly strong compression with medium to slow attack time, with a pretty fast release. Timing the release will be key. If the compressor doesn't release before the next note, you will ...
2
my first approach would be to take the kick (either miced or synthesized), filter out a good amount the extreme lows, the mids, and the highs, then send it through a gated reverb.
the gated reverb was kind of popular in the 80s. it can be easily recreated by using a noise gate (with a sidechain input) and a compressor.
an example signal flow, in beautiful ...
2
Keep in mind that even EQs with fully customizable band parameters will not all sound the same when set to identical settings. The type of electrical circuit and quality of components (or the type of digital algorithm) used to achieve the equalization will be different for each EQ model, and these differences have very real effects on how the signal is ...
2
I'm not familiar with Renoise, but according to this tutorial it's possible to configure VSTs for a Windows environment.
So, if you're using Windows, here's your solution:
I personally use MAnalyzer.
If you don't like any of the solutions OR you're not using Windows you should try googling:
spectrum analyzer
I'm aware that you did ask for a 'static' ...
2
If you're going to "pink" your room you need more than just measurement software. Unless one of your generic microphones is a measurement mic you are fighting an uphill battle. All mics have different frequency responses and coincidentally a mic that has reasonably flat response (measurement mics) actually sound worse to us (for recording) than mics that ...
2
If you're looking to create dynamically interesting music then you should go easy on the compression. Compression can give a kind of 'warmth' by making everything sound bigger and bringing out the bass.
I've over compressed everything in the past trying to keep up with the 'pros' and I just can't do it like they do. It makes my ears hurt. And even the ...
2
Both plugins are not very well-suited for mastering, I'm afraid. Tube-style saturation/overdrive is great for single input signals because its asymmetric clipping adds not just odd harmonics but also warmer-sounding even ones; but in the mix you will already have plenty of both and these asymmetric characteristics are rather a drawback when you want a tight ...
2
That sound is due to a combination of low sample rate and low bit depth. Those are the 2 parameters you can control to diminish the data size on PCM data, which they had to do for the old game consoles because of their limited storage and processing power. A very low sample rate without pre-filtering introduces strong aliasing, and a very low bit depth ...
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