Using an EQ for mastering should be a corrective process; so you need to know what you are trying to correct in the sound. Don't just use EQ or dynamics because that's what you think mastering is. If the sound is working, then leave it alone. If it isn't working, then you need to figure out what is wrong and what tool you need to use to fix it.
If your ...
Good discussion about DC Offset here on the DUC:
There could be something wrong with the preamp or mic wiring.
Try using the AudioSuite plug-in to remove the offset. If it doesn't do the trick, maybe it's not strictly a DC offset.
You talk about increasing gain below threshold. An upward compressor does this.
You mention "inverse expansion" - this is normally called an upward expander (sometimes called an "uncompressor"), and works differently than the desired result you decribe.
Here is a description of both.
With an upward expander the loud parts are made ...
You're heading in the right direction. Compression is what you need, though maybe you want more of it.
A 'harder' version of compression is known as Limiting.
Using a limiter rather than regular compressor adds a 'ceiling' above which signals cannot get louder. This will allow quieter sounds to pass unchanged, but anything above your volume limit [...
You should consider that any signal is a combination of different frequency components all across the spectrum. Each of these components will have a differing amount of energy and will affect the attack trigger in a different way. For instance with a Kick drum, there is likely to be a lot of energy in the high-frequency part of the spectrum that may well ...
Typical mastering chain will have 3 main elements:
That's the order I would apply them personally. On EQ, you're just trying to make sure the overall feel of the song suits the genre/mood. Pretty subjective, but a "safe" approach could be a small scoop in the midrange and a high shelf boost for "shimmer" (whatever that means, ...
The use of silence in Gravity is outstanding. Some scenes are completely stripped of sound. The sound team came up with excellent concepts to work around the silence in space. The use of sound from vibrating objects and direct contact through the spacesuits is an excellent example.
I recently saw the film Gravity, which deals with the "silence" of space excellently. Worth checking out.
Unlike most films set in space, they did not steer away from the fact that in space the is no sound due to the lack of atmosphere. Therefore in this film there was little or very muffled sounds that were there beautifully complemented by a very ...
This could also be a faulty cable, where the positive (hot) part of a balanced signal did not arrive at the recorder.
Typically, DC offset means a signal is centered around a value other than 0, so when looking at the waveform, you see that even when nothing is playing, the waveform is consistently higher than 0 in case of a positive offset, or lower in ...
It may be extreme DC offset, or a rectified waveform. Hard to tell unless you link to a picture.
Depending upon what the situation is there may be options, but first we need to see the waveform to find out what's really going in in my opinion.
I second Jesse's comment. The octave above the fundamental, which usually sits between 200-300 Hz is the 'box' frequency that presents so many problems.
This simple roll off + Notch should fix the problem. If this is still not working then first of all check the mic is working properly (perhaps swap the mics around the presenters) and if all else fails try ...
Hey Chris, have you tried notching the 2nd or 3rd harmonic in the presenter's voice? I sometimes find that this creates more boomy-ness than the actual fundamental frequency. You can search for it using a boost with a high Q setting or use an EQ with a spectral analyzer such as Fabfilter Pro-Q. Also try hunting for some vocal clarity just below 2k and giving ...