9

The standard ISO for a 31 band Eq is as follows HZ:20/25/31.5/40/50/63/80/100/125/160/200/250/315/400/500/630/800/1K/1.25K/1.6K/ 2K/ 2.5K/3.15K/4K/5K/6.3K/8K/10K/12.5K/16K/20K. But I think that this wasn’t the question, the question was how to calculate it, right? First, every octave doubles or divides per two a chosen frequency. Let’s take as a ...


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

Yes, they double in frequency for each step. Seems like 10band eq's tend to start at 32hz and double through to 16k Like this: It's also nice to have a chart like this to put it in perspective: alt text http://www.beantownboogiedown.com/storage/Hertz-Chart.png?__SQUARESPACE_CACHEVERSION=1260244426517 If you can't make that out here is the link . So ...


6

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 ...


6

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 ...


5

A 31-band EQ uses bands that are 1/3 of an octave apart. A 10-band EQ uses bands (frequencies) an octave apart. An octave is a 2:1 ratio between frequencies (doubling). This is a standardized form that was specified by ISO (International Standards Organisation).


5

Filtering a signal to remove certain parts of the spectrum on the face of it (and intuitively) should reduce the perceived sound level. This is what common-sense would tell us. However, when it comes to the reshaping of sound with filtering, lowering the sound level doesn't always equate to lowering the peak level. Yes, the perceived sound level may reduce ...


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

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 ...


5

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 an excellent question. For cutscenes, there's definitely a trend to use more perspective, I like to record both using perspective mics and a boom or lav mic to always have a close option. For in-game cinematics which are pre-rendered you're relying on the capabilities of the audio engine to use real-time DSP effects to create the sense of depth, such ...


4

Another issue in why a lot of games choose the close mic perspective is Localization. Localization is generally outsourced to different recording studios depending on language, and using multiple mic set up in the english version complicates and could serious compromise the quality of the localized versions. In this respect it is much safer to record the ...


4

we recorded the dialogue for brothers in arms 2 and 3, as well as borderlands, duke nukem and dragonball z budokai 3. In each of those cases we ran a 2 mic setup, but that was to handle main challenge of keeping the yelling and talking/whispering phrases in line with one another and working well. Its my experience that perspective recording would ...


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

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

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 ...


3

Like with all both filtering and EQ:ing, you must be very careful and never do a single decibel more than what's needed. With that said, I like the range between 8-10KHz! Many modern mics, like the Sennheiser MKH 40, DPA 2011, or Shoeps Colette-capsules are very straight and rich in range. That makes them sound great on big systems on a neutral sound-level, ...


3

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


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

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

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

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 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

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 ...


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