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You're likely to find that artists that have basslines that stick out well on both proper studio monitors as well as crappy laptop speakers are utilizing a bunch of layering of sounds to create a cohesive bass sound that spans various frequencies (besides the low ones you'd expect). Even when I'm using a bass sound that is essentially a sub (sine wave) bass,...
8
Using a higher order filter will give you a greater roll-off slope in the filters stop-band. So a 1st order filter has a roll-off slope of -6db/octave, 2nd order filter has a roll-off slope of -12db/octave, 3rd order filter has a roll-off slope of -18db/octave, 4th order filter has a roll-off slope of -24db/octave, etc. This means the filter does not act ...
6
Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional.
Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands.
5
-- edit --
this question piqued my curiousity enough that I ran a test for the tonebenders podcast. Check out the results here:
http://www.tonebenders.net/tonebenders-episode-seventeen-questions-ozone-and-plural-eyes/
-- edi t--
I honestly think this is a good question that's worthy of a little thoughtfulness.
IMO it is possible to eq one mic's ...
5
To get the Kickdrum out of Laptopspeakers -> Layer a small click sound, rimshot, hi hat, etc.
To get the Bass out -> layer it with saws or use parallel distortion or fm to get some higher harmonics out
edit: also the right amount of white and pink noise can give the impression of a burst -> helps with those edm genres to give a big bass drop on small ...
4
You can use something like Waves MaxxBass or RBass to create upper harmonics that can be heard on smaller speakers. You could also saturate or distort the mid to high end on a separate track and blend it in with the original.
3
Those combined EQ + spectroscopes can seem a bit misleading. The curve on your EQ isn't always what's actually happening, and similarly metering is only an averaging of the signal because audio is a much faster rate than your monitor. With a regular eq it's really more about using your ears to find something that works. You might be better off using an FFT ...
3
I found boosting the basslines in the 800hz area helps on laptops and only gives a little more clarity on other systems without making it overpowering.
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You would probably want to use the insert so the signal passes through the preamp on your mixer before hitting the equalizer.
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There is a logic to your argument, but the problem arises from the fact that there are thousands of models of consumer speaker, all with their own way of 'flattering' the sound.
If you mix on one pair, it may become bass heavy on another.
The idea behind studio monitors is that the sound is as neutral as possible, so that the mix will more or less be ...
2
I hope this one helps:
Your hearing localizes the directions of sounds either by interpreting frequency dependent level-differences and/or the interaural time-delay between your ears.
On the horizontal plane, you mostly localize the direction by interpreting time-delays. As far as I remember the highest frequency this works for is near 1,6 kHz.
On the ...
2
It's based on the assumption that studio speakers sound "flat" (and it's technically true as well, because they're designed to sound flat/neutral/clinical/accurate) and thus represent "the average" of all sorts of colorizing. I.e. if the mix is done on a system that sounds "flat", then all colorizing to one direction or another will be less compared to ...
2
First of all: An EQ can not add something to a sound that is not there!!!!
This is a very important fact, as a lot of beginners feel like they need to put on a magic frequency response in the EQ to make a sound big or stand out.
But there are roughly 3 situations where you want to use an EQ:
On all of those as a rule of thumb: Wide Q boots and small Q ...
2
The simplest way is to find some free gunshot sound effects online.
If you need to create your own it can be done by layering 2-3 basic sounds. Start with a cookie sheet being hit against something (try to get a few different sounds from the hits). The cookie sheet will give you the metallic sound on top and should be the root sound. The next part of the ...
2
This is not possible by traditional, analogue means. As said by Bit Depth, such filters have a property called the order. What that means: the response of a filter of order n can be written as
        ( an ⋅ ωn + an-1 ⋅ ωn-1 + ... + a2 ⋅ ω2 + a1 ⋅ ω + a0 )
A(ω) = ———————————————————————
        ( bn ⋅ ωn + bn-1 ⋅ ωn-1 + ... + b2 ⋅ ω2 + b1 ⋅ ω +...
2
No. In fact when using EQ to enhance the tone of a track or fix problems with the track sitting in the mix, the phase shift is often part of the beneficial sonic change created by the EQ. In a live situation, the phase shift caused by EQ can actually provide more gain before feedback.
Phase linear digital EQs can actually sound a little strange becuase the ...
2
Vocals sound a little dry to me, maybe add some subtle reverb or delay. The method of EQing you're doing sounds right. Dullness usually comes from a lack of top end, maybe add a couple of DBs of top end to the vocals to bring them out a touch.
You could also bring the instruments forwards in the mix, and arrangement wise maybe add a bass instrument of some ...
2
What you're looking for is incredibly hard to implement. Filters always have a slope measured in dB/Octave or dB/Decade and it's a measure of the attenuation of frequencies beyond the cutoff frequency. This slope can never be vertical so frequencies next to each other can never be completely isolated. To increase the slope, we normally stack multiple filters....
2
Very wide open spaces have almost no ambience at all, by their very nature. If you're in the middle of a cornfield with nothing but a few trees or hedges round the edge and just more fields beyond, you've got nothing to reflect from. Sound will just get swallowed up fast.
A playground might have some long early reflection from buildings within a couple of ...
1
Much of what you hear in a low end signal is in fact mid-range frequencies. Listen to old recordings from the 50-60's. Back then, common speaker systems were fairly horrible in their bass frequency reproduction.
A way to combat this is to either boost the mid-range, or reduce the sub 300 hz range. Some common bass or kick drum EQ settings are to remove ...
1
Nothing definite since I can't play around with it first hand, but what might have happened here is that you put the EQ as an effect on top of the audio file, but didn't render it to permanently change the audio file itself. So, when you go to view the waveform, it's still showing you the original, un-eq'd waveform.
I'm not that familiar with ableton, but I ...
1
Found this on a gearslutz forum a while back (sorry to whoever originally wrote it, credit to you!)
What I used to do was: suspend automation, mess around for a bit,
shift+cmd+c my settings, and then roll back a bit. Enable latch mode,
hit play and then shift+cmd+v the settings. Obviously, this is kind of
a pain and takes longer than it would w/ HD. ...
1
In PT10 with Production Toolkit, I use an Artist Series Control with soft keys for Preview, Punch Preview, and Write to Selected.
Before I got that, I used to use the Automation palette always in the same spot with a QuicKey macro (now I'd use a Keyboard Maestro macro) to push the palette's buttons from the keyboard. Clicking on the Automation palette ...
1
Listen for what you want to add or remove, then equalize.
It comes through experience that you learn to hear when an equalization sounds good and when there's something to adjust. Mainly it has to do with contrast (e.g. removing "mud frequencies" to bring out the essentials or to "clean" the sound, or equalizing different layers so that they either sound "...
1
Listen, I put an MXL V67 ($100 mic) up against a U87 and ran it them through a Millennia STT1, and the cheap V67 won. You can't negate the fact that if you throw a cheap mic onto a cheap pre, you get blah blah. Somewhere in the signal flow, pre's do matter...and I ditto the guy who said, get the organic sound to minimize EQ in the first place. The best ...
1
Think of it this way. Do you think you could ever EQ Jimmy Durante singing to sound like David Clovedale of Whitesnake, Whitney Houston, Robert Plant, etc.? Good sound is usually made by having GOOD equipment at each stage of the process; not by having trashy sound that some plugin is trying to make up for. If you don't put it in in the first place, good ...
1
If you haven't picked up on the idea from the previous two answers, HRTF is far more complicated than simple EQ. It's a complex mathematical system, and it's different for every person. That in turn leads to the issue that HRTF specific data/values do not necessarily work for everyone. There are sets that work well for a large majority of people, but they ...
1
Hey Tig,
Check out Audiostage by Longcat audio, H3D also by Longcat and Panorama by Wave Arts. Audiostage is definitely the most powerful and versatile, but see if it fits your needs
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Head-related transfer function. The "function" here implies a mathematical function and therefore it's well-defined, although there exist different approaches and approximations. In the Wikipedia page see the text under the heading "Technical derivation".
If you're interested in "emulating" HRTF, then I would suggest using an existing implementation (a plug-...
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