Hot answers tagged equalization
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 ...
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 ...
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
Well, calibrating EQ for home speakers is not a common practice. However it seems that the easiest and cheapest way to do it is just play some music through them and record the output. Then you could use one of the free audio software (e.g. Audacity) to import the recorded audio and get the frequency spectrum graph. Using this graph you might get a general ...
2
If you know the curve for the mic you're using, then you should at least be able to determine what response you have now, which would tell you if you need to make EQ changes. Doing it band by band might be a bit tedious, but you won't do it often, so...
The gold standard is something like an Ivie sound analyzer, which uses "pink noise" as the sound source, ...
2
The Nyquist-Shannon theorem indicates that the highest frequency that can be sampled is 1/2 of the sampling frequency. However, it does not follow that you can simply adjust your sample rate to extract lower frequencies.
The reason for this is aliasing: when a signal is sampled at a rate less than twice the greatest frequency that occurs in the signal, the ...
1
In my opinion EQ'ing is an art with no strict rules. Sometimes you are working on some strings or a voice where harsh EQ cutting would make the sound unnatural or empty. However, when working with heavy electronic music I sometimes use extreme EQ'ing to create a sound that is very unique. What i'm trying to get at is that the amount you EQ is ultimately ...
1
Generally mud in mixes isn't a problem with a specific instrument or sound, its a general problem of too many instruments with content in that mid range. For instance you could create a mix where the only instrument playing in lets say 200 - 400hz is a synthline, but in reality guitars, drums, bass, etc all have different components of their sound which can ...
1
It's definitely bad if ultra-low frequencies take away a significant amount of the power from the rest of the mix. However, that only happens if they are in fact as loud, or louder. If these frequencies fit in principle well in your material (i.e. not just rumble, but nice rythmic sub-punch) you should not kill them completely, rather just push them well ...
Only top voted, non community-wiki answers of a minimum length are eligible
