9

I think your main issue with understanding this is that you're looking at it from too simplified a view. Frequency response curves can only be so accurate, and even within a manufactured line of a particular mic by a particular company there may be slight variations. Polar response is not identical between two different model microphones (even though they'...


8

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 ...


8

Very good question. I found nothing about it in the manuals. It seems I'm missing some knowledge that the creators of FM8 and Ableton's Operator share and use. So, my question is how do synth makers control the modulator amplitude and how does the interface of the synth and the controls from 0 to 100 change the modulator amplitude in the background? ...


7

If you zoom in to your waveform, you will see that it crosses the zero line twice per cycle (880 times per second). If you end your tone recording exactly at a "zero-crossing" then there will be nothing to create a "click" when played back. The "click" comes from ending the waveform somewhere above (or below) the zero-crossing. If the recording ends mid-...


6

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 ...


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

I think you've misunderstood what Frequency is, with respect to audio. Whilst 'Frequency' typically is 'how frequently something occurs', in audio it's how many times a sine-wave oscillates in a second, rather than how many things you hear in a second. eg. A standard kick-drum track at 60 BPM means you'll hear a kick-drum sound once-per-second. That actual ...


5

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 ...


4

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).


4

There are definitely tendencies - and these mainly appear through the use of the same types of instruments in a genre, some more explicit than others, e.g. Drum and bass, Funk and A capella. Almost all modern electronic dance music uses a steady repeating kick drum and bass pattern - and as you note, this defines a good portion of the frequency ...


3

The membrane is an analog device. It's operation varies continuously. Thus, you cannot change the overall recorded signal to sound like what another microphone would have picked up using static post-processing. Regarding noise, different microphones also have different noise prints. Different microphones also have different housings, which affects how the ...


3

Good question; i know this occurs to a lot of sound designers at one time or another. A lot of examples of cinematic tinnitus are around (Children of Men, Saving Private Ryan, Noise, etc.). In those films it's more of a psychological diegesis than a non diegetic effect, though (which is what i think you're talking about). A couple of potential problems for ...


3

As @Roger mentions, subtly removing tones / ambiences / that have been established without the audience even noticing is something to experiment with -- it can have the same effect subconsciously, and personally I prefer that approach because it's harder for anyone to say "yes I can hear your 'tension' sfx, thankyou very much", which can be a bit of a boom-...


3

Gaspar Noe's Irreversible does this in the first 30 minutes of the film. I've heard that it was so effective that when the film was screening at festivals around the world, there were occasions of people vomiting, fainting and all other kinds of hysteria happening. Watch at your own risk though, it's a very intense movie and not for the faint of heart.


3

You are applying a low pass filter - this tends to remove the middle frequencies in the spectrum a bit and the upper frequencies a lot. This is how I hear it anyway - try using a simple tone control to simulate the effect - probably just a fair amount of treble cut would do the same. If you want to be really precise use a graphic equalizer that has a bypass ...


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

FM8 mirrors the DX7 implementation which uses a 0-99 value to represent modulation index of 0 to 14. So, an output level of '85' corresponds to an index of 4.


3

Do you mean in livesound situations? If so, it depends on soo many factors that it is impossible to give a average frequency range. But something i noticed when working with a band that only use in-ears is that feedback through FoH started (if at all) around the lower midrange. I think this is common due to the way lower frequencies radiate. With the band i ...


3

Change is typically "disturbing". A sharp change of amplitude (a crash, a scream, an explosive sound, etc.) Or even sudden quiet after moderate but steady background noise will disturb some people. So a circuit that detects any sharp change (up or down) in sound amplitude. That would be my primary focus for detection of "disturbing sound". Of course, ...


3

It's a Logarithmic scale & is used where a linear scale wouldn't really make sense & would reduce the detail in the lower portions of the graph. As each octave doubles the frequency. The difference between, say, 50Hz & 100Hz is an octave, so is the difference between 5kHz & 10kHz. If that information were to be presented on a linear scale,...


3

By far most passive acoustic systems are linear and time invariant. As such, they don't create frequencies not present in the original signal. Passive systems that aren't linear are typically of the snaring/clacking variety. They either create overtones to existing frequencies, or they have their own strong resonance but are triggered by external signals. ...


3

Wavelength is the inverse of frequency (1/f) so all you need is to perform an FFT (Fast Fourier Transform) on your signal to get its spectrum (harmonic content). This can be done in many ways but from the way the question is formed ("Is there any way to extract wavelength ranges out of it? I only need to know the numbers."), I suspect Matlab or Scilab might ...


2

In the Black Swan I noticed lo frequency tones used to anticipate tension. I noticed them because I was paying a lot of attention to the sound track. They are quite evident for some one "analyzing" the sound track but I don't think the average viewer would consciously understand their use or their presence.. Very low frequencies which are not perceptible ...


2

eraserhead has a horrible hum thru it that created a ton of tension.


2

for 1/3 octave steps, multiply the previous band by 2^(1/3) (that's 2 to the power of 1/3 = 1.259921049895). Starting with 20Hz, you'll get 20,25.198,31.748,40,50.397,etc, up to 20480. The 'standard' frequency bands for a 1/3 octave (20,25,31.5,40,50,63,etc) are essentially just for labelling - any practical application would use the calculated ...


2

I wouldn't always say the winner is the expensive one, like a bad mic used well is always better than a good mic used poorly. Weeelllll sometimes : P But my understanding (and I possibly think this just to sleep better at night) was that the reason you can't truly just process sound from a cheap microphone is that it may have not captured those frequencies ...


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