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 ...


7

There are three parameters of this filter that are described in the phrase "100 Hz 12 dB per octave low pass filter". I'll cover them in reverse order. Low pass filter - This means the filter does not change lower frequencies ("passes" those frequencies through) and blocks higher frequencies. Sometimes these filters are called "high cut filters", but that ...


6

Yes and no - there is no tool that does this fully automatic - you have to set up and tweak the chain your self, but once you're done it can be used with any input (i.e. "live"). (tl;dr: good impersonation -> pitch-shift w. formant control -> matching eq) Details Like you suggest yourself in one of the comments, you have to use a mix of both a good pitch ...


5

Here, is there any common low-end level that every song should has? No or Does it just set by ear? Yes. In fact, it should be set by ear, not by eyes. Don't bother with what the spectrum analyzer tells you, it is dumb and doesn't know or say very much. You have to listen for the right sounds. or Does it depend on the music genres? Definitely. Hip-...


5

Equalization will not affect pitch perception in any way. Your issue as you have correctly identified, is primarily one of direction, rather than being technical. You can use pitch manipulation tools but not to a massive extent as it will quickly become noticable. When directing these performances, try to ensure that there is a consistent level of energy ...


4

It's because it's a summed audio track. There are peaks and valleys now that have completely changed. think of three separate waveforms with totally different wavelengths. Now, you imagine the peaks and valleys getting summed together. Suppose that you remove the longest ( lowest ) wave. Now you will have parts that are quieter and parts that are louder ...


4

It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules. I tend to default to EQ/DYN/De-es/multiband but everyone is different. Sometimes you might need 2 of certain processes, 1 to fix an issue, ...


3

If you are using lavalier mics [tiny headset or tie-mics that look no bigger than a knot in the wire] then you should not set them directly in front of the mouth, but at the side, or even in the hair, if you really want them hidden. Hidden in clothing is also an option, though you can get a lot of movement noise that way. Example images [stolen from Google, ...


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

For a board with fixed EQs, it is going to be difficult to account for this much of an unlevel response curve. It varies based on board, but the fixed EQs tend to be very "wide", impacting a large number of related frequencies. Some boards use shelving filters on the top and bottom EQ while others use non-shelving. This response curve would certainly need ...


3

I don't think you will find any research in to what EQ settings will make a difference. There may be certain frequency groups that help, but EQs just apply adjustments to what is already there though and countless other things have more of an impact. Pacing of the music, how busy the music is, how complete the "wall of sound is", tempo, style, volume, etc ...


3

I dont think this is particularly a Sound Design question in the first place, but I would point out that there can be considerable differences between any two different equalisers (hardware or software) in the first place, so the notion that settings for 'an' EQ might be studied, rather than the more consistently measureable frequency content of music, seems ...


3

I would apply them in order of de-esser, EQ and compressor. The first two could be done in either order, but the compressor should generally be last. You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ. The compression should be last because it deals with overall signal power, which ...


3

There isn't a "correct" answer to this. The general concept most people go for is called the "Wall of Sound". You want each track (instrument or vocal) to have its own place in the wall. It may be softer or louder dynamically than the other tracks around it and it may have its tone and/or sibilance at different parts of the EQ spectrum. You generally ...


3

It is true that the sensitivity of our ears varies based on frequency and that high pressure sound can be more damaging without being noticed, but if you are not listening too loud it shouldn't be a problem. You just need to be really careful that it isn't actually too loud. It is possible to damage your hearing without feeling any pain when you are using ...


3

i used no compression. just a slow attack on the ADSR :-)


3

Side note: BRHSM (OP) is refering to Geek Technique #12 in issue 222 of Computer Music magazine. Great question, BRHSM. I have three answers for you, but only one is true. I'll let you come to your own conclusions. :) Option 1: I must confess, the video is one big deception. Everyone knows that filters always reduce amplitude and increase available ...


3

If I would approach it, I would go and try the following: First of all, FM radio broadcasting has an upper limit of 15 KHz, and lower limit of 30 Hz. So cut all frequencies outside that scope to start with a very steep filter. Then a "little desktop / clock radio" would use a very small speaker which would not reproduce any sound lower than 200 Hz, so roll ...


3

Processing always has the negative side effect of either increasing noise or taking away from the quality. The secret to processing is you want to do as little as possible to achieve what you want, and in this case that means removing steps that essentially do the same thing. As for the order here's what I would do. Normalize - This will amplify it to ...


3

(I'm not sure what you want to fix - it sounds sick and genrewise it is spot on!) Needless to say: always record with a DI so you have the option to reamp later on if something turns out too hot etc. But at this point this advice is not worth much ;-) I can think of a few things you might try out: De-clipping: Try to "restore" clipped areas. De-clipping ...


3

This isn't my genre at all - but I'd say overall the vocals are way too loud & the track constantly ducks behind them… which is entirely the wrong way round. This type of music is entirely reliant on a solid beat (far too understated in the example given) which the vox ought to stay well out of the way of. I'd look at the compression chain differently. ...


3

Audio engineering uses decibels, because they are closer to how the human hearing perceives loudness: a double energy level is not twice as loud. A linear scale would require either a very large fader or be fiddly to tune towards the lower end. If you're tuning your EQ by the numbers, you're doing it wrong. Use your ears! ;-)


2

The first question is always: what's your application? Why do you need such close EQ curve matching, and is it possible there's a better way to accomplish your objective than using software to manipulate your audio? (For example: if you're trying to match an existing mic in a recording setup, would it make more sense to replace them both?) Personally, I ...


2

Assuming the recording and levels are good in the first place. I will almost always roll off lows and shelf the highs, even if its just a little. Human voices don't really have much below 120hz or above 12khz so get rid of it. Next I work low to high on the frequency band. It usually looks something like this: A lot of voices often have a specific ...


2

As someone who comes from a sound company, the only way you can be sure that it would negatively effect the headset or headphones in said question is whether it would pass the specification of the speaker or subwoofer in the headphones. Depending on its use and how frequently you push it past it's limit (Mild distortion or blurred sound) is the point where ...


2

You can make your own. Take any single professionally recorded audio source you can find and mess with the EQ at random. This will be your "bad" and the actual recording will be your "good". EQing is really something you are best to learn by feel. Get some good audio tracks that are just an instrument or just a vocal or just speaking. If they are well ...


2

That first one is octave-based, whereas the second is set up with more bands towards either end of the frequency spectrum. What this means is the first one will appear to have the bands evenly spread across the audio range, to the human ear. So tweaking frequencies is relatively straightforward. General home audio often uses this - allowing general boost ...


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

First things first, use your crossover. You should connect your main outputs to it and feed your main loudspeakers and your subwoofers power amps from it. Connecting and learning how to configure your crossover should be easy enough and straightforward, after you do some reading of the manual. This will give you the advantage of using less faders to control ...


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