An equalizer is an electronic device that can separately adjust the amount of electrical signal amplification of various frequency components. It compensates for defects in the speaker and sound field by adjusting the electrical signals of different frequencies, and compensates and modifies various sound sources and other special effects. The equalizer on the general mixer can only adjust the three-stage frequency electrical signals of high frequency, intermediate frequency and low frequency respectively.
In a communication system, the insertion of an equalizer in the lanyard system can reduce the effects of intersymbol interference.
Adjustment method Subwoofer: 20Hz-40Hz, the sound is strong and powerful when appropriate. Controls the sound of thunder, bass drums, organ and bass. Excessive promotion can make music confusing.
Bass: 40Hz-150Hz, is the basic part of the sound, its energy accounts for 70% of the entire audio energy, is an important component of the performance of music style. When appropriate, the bass is relaxed and the sound is full and soft. When it is not enough, the sound is thin, 150Hz. When it is excessively lifted, the sound will be boring, the brightness will decrease, and the nasal sound will be enhanced.
Mid-bass: 150Hz-500Hz, is the structural part of the sound. The voice is located at this position. When it is insufficient, the singing sound will be drowned by the music. The sound is soft and weak. When it is properly raised, it will feel strong and powerful, and improve the intensity and loudness of the sound. Excessive boosting will make the bass hard, and 3-6dB overshoot at 300Hz. If you add reverb, it will seriously affect the clarity of the sound.
Midrange: 500Hz-2KHz, containing the low harmonics and overtones of most instruments, is the characteristic sound of snare drums and percussion instruments. The sound is clear and bright when appropriate, and the sound is awkward when not enough. A phone-like sound is produced when over-promoted.
Middle and high-pitched sound: 2KHz-5KHz, which is the characteristic sound of the string (the sound of the bow and the string of the string, the sound of the finger of the play string). When the sound is insufficient, the penetrating power of the sound is lowered. When it is too strong, the recognition of the language syllable is masked.
Treble: 7KHz-8KHz, is the frequency that affects the sound layering. Excessive ascension will make the piccolo and flute sound prominent, the language's teeth will be aggravated and the tone will be hairy.
Extremely high sound: 8KHz-10KHz, when appropriate, the metallurgical permeability of the triangle and the vertical * is high, and the rhythm of the sand clock is clearly distinguishable. Excessive lifting will make the sound unnatural and easily burn high-frequency units.
The sound of a balanced sound should be:
Below 150Hz (bass) should be full, soft and flexible;
150Hz-500Hz (middle bass) should be thick and powerful, not turbid;
500Hz-5KHz (medium and high) should be bright and not hard;
Above 5KHz (treble) should be slender, smooth and not sharp.
When the whole frequency response is flat: the sound is naturally full and flexible, and the level is clear and smooth. When the frequency response is multi-peak valley: the sound is rough and turbid, the treble is harsh and hairy, and the layered sound is easy to generate feedback whistling.
The acoustic characteristics of the frequency:
30~60Hz Dreary If there is no considerable loudness, it is difficult for the human ear to feel.
60~100Hz Heavy and heavy 80Hz can produce a strong "heavy sense" effect, and the loudness will not give a comfortable feeling, which can give people a strong stimulation.
100~200Hz Fullness 200~500Hz The intensity is easy to cause the snoring of the snoring.
500~1KHz If the brightness is increased by 10dB near 800Hz, it will obviously produce a sense of noisy and narrow.
1K~2KHz Translucent 2K~4Kz Sharp 2800Kz has the strongest relationship between brightness and 3400Hz, which is easy to cause hearing fatigue.
4K~8Kz Crisp 6800Hz forms a scream, sharp feeling, >7.5KHz sound is clear and slender.
8K~16Kz slender. Double bass: full and deep at 60Hz ~ 100Hz. At 600 Hz, the sound is rumble, the sense of presence is at 2.5 kHz, and the noise of the strings is above 3 kHz. Attenuating the components around 200 Hz to 500 Hz can make the sound clear.
Electric guitar: The sound is at 60Hz, the fullness is at 100Hz, the hum is at 500Hz, the sense of presence or sharpness is between 2kHz and 3kHz, and the humming or squeaking is above 6kHz.
Drum type: The fullness is between 100Hz and 200Hz, the drum sound is ambiguous at 250Hz~800Hz (can be attenuated in this range), the trivial useless snare drum sound is between 1kHz and 3kHz, and the sound is 5kHz. Attenuating the loud drum sound near 600 Hz can reduce the box sound. Increasing the speed from 10 kHz to 12 kHz makes the dull cymbals sound more delicate and crisp.
Low-pitched drum: fullness and strength below 60Hz, between 300Hz and 800Hz is a kind of tearing paper sound (attenuation of 400Hz ~ 600Hz components can make the sound better), hum and percussion sounds from 2kHz to 6kHz.
Saxophone: The warmth is at 500Hz, the harshness is at 3kHz, and the key noise is above 10kHz.
Native guitar: fullness or slamming at 80Hz, live sensation at 5kHz, plucking (pick) noise above 10kHz.
Acoustic guitar miniature microphone pickup: In order to make the guitar sound more "original", it can be attenuated in a narrow frequency range of 1.2 kHz to 1.5 kHz, which may attenuate some high frequency components.
Vocals: The fullness of male voice is between 100Hz and 200Hz, the fullness of female voice is between 200Hz and 400Hz, the buzzing or nasal sound is between 500kHz and 1kHz, the sense of presence is at 5kHz, and the buzz is sounded (“s†and “sh†sounds) From 3 kHz to 10 kHz.
Example: The sound of a vocal soundtrack is too full or rumbling. It can be attenuated with a low-frequency equalization knob (for example, at 100 Hz) until the sound heard is natural. If the drum sound is too slow or like it is suppressed, adjust the IF equalizer button and raise it at 5 kHz to 10 kHz until the drum sound is clear and crisp.
Don't pause when making a balanced adjustment to the approximate frequency range you need. Continue to use full or full attenuation to make the effect more visible. Finally, go back and fine tune its frequency and its boost or attenuation until you feel the most satisfactory sound quality balance.
If the instrument sounds hum, dull or harsh, and you don't know where to start to adjust the balance. At this time, you can use a frequency-selectable equalizer, first increase its boost amount, and then select the frequency segments one by one until the sound of the selected frequency segment matches the tone of the problem. Finally, the equalization amount of this frequency segment is attenuated until the sound returns to normal. For example, when picking up a grand piano, the microphone is too close to the cover to cause a dull staining effect - perhaps the output of the 300Hz accessory is too high. At this time, the low-frequency equalization is used to increase the equalization amount, and the center frequency is changed so that the dull sound that appears is more significant. Finally, the equalization amount of this frequency is attenuated until the piano sound returns to normal.
In general, avoid excessive boosts because doing so can distort the signal. Therefore, sometimes when it is necessary to raise the high frequency without causing the signal to be distorted, try to use the method of attenuating the low frequency to achieve the purpose of raising the high frequency. To reduce the turbidity of the sound or enhance its sharpness, you can attenuate 1 to 2 dB around 300 Hz - either attenuate each instrument or attenuate the entire mix. At the same time, care should be taken not to increase the equalization of each instrument at the same frequency.
When to use the equalization Before using the equalization, try to replace the microphone or change the placement of the microphone to see if the result is the desired sound quality. In doing so, it is more authentic than the sound effect obtained by using equalization. Many sound engineers who pursue natural sounds avoid using balance. They complain that due to the excessive phase shift or bell-bell effect caused by the use of equalization, they usually use extremely detailed microphone placement technology, using high-quality microphones, to obtain a natural tone balance without using equalization.
The usual practice is to do a straight recording (without equalization) and then equalize the soundtrack during the downmix.
Some instruments require a lot of equalization to make the sound better. In this case, you can apply equalization during recording. When you add equalization, you should ask the musician to listen to the sound during playback until it gets better. When multi-track recordings are played back through the monitor console, the monitored sounds may not be correctly expressed unless those soundtracks have been over-balanced (assuming there is no equalization on the monitor console).
Balanced Usage The following are some applications for balancing:
Improve sound quality. The main purpose of equalization is to make the sound of the instrument more beautiful. For example, the singer can use a high-frequency roll-off balance to reduce the hum, or cut off the "fringe" of the directly recorded electric guitar. It is also possible to make a 100Hz boost on the floor pass drum to get a fuller drum sound, or to make some attenuation around 250Hz on the bass guitar to improve its clarity. Attenuating the frequency components around 100 Hz helps to reduce bass accumulation due to numerous harmonics. Of course, the frequency response of each microphone and its placement also affect the quality of the sound.
Although it is possible to set the equalization for each track when listening alone, a better method is to set those equalizers when playing back the overall mix. This is because an instrument can be masked or hidden under certain frequencies of another instrument. For example, the cymbal sound can mask the "s" sound in the song, making the song slower - even when it is so beautiful.
Create a sound effect. Excessive balance reduces the fidelity of the sound, but it creates an interesting sound. For example, a steep attenuation of vocals at low and high frequencies can result in a "telephone" sound effect. This effect can be achieved with a 1 kHz bandpass filter. To make a stereo sound on a mono keyboard soundtrack, simply send the keyboard sound signal to the two channels of the mixer. The signal biased on the left channel enhances the low frequency and attenuates the high frequency, while the signal biased on the right channel attenuates the low frequency and boosts the high frequency.
Use low frequency components below the low end of the frequency range of the recorded instrument to reduce low frequency noise - low frequency leakage, air conditioning rumble and microphone stand crash. The frequency range of the instrument can be found in Table 10.1. For example, the lowest frequency of the violin is around 200 Hz, so a low-cut filter (or high-pass filter) can be used to set it to 200 Hz (if there is such a filter). This low-cut filter does not change the sound quality of the violin because the filtered frequency is below the lowest frequency of the violin. Similarly, the composition of the bass drum above 9 kHz has little or no output, so when the bass drum is applied above 9 kHz, the diaphragm leakage can be reduced. Filtering out the frequency components below 100Hz for most instruments helps to reduce the rumble and wheezing of the air conditioner. Try to use the measure of the low frequency of the audience microphone to avoid turbid bass. To reduce the AC hum, you can use a parametric equalizer to set the attenuation to 24dB at 60Hz, 120Hz and 180Hz (in the US) or at 50Hz, 100Hz and 150Hz (in Europe). 30.
Compensate for the "Fletcher-Monsoon" effect. This is a phenomenon discovered by Fletcher and Monzon, that is, the human ear is less sensitive to bass and treble at low volume than to bass and treble at high volume. Therefore, when a player with a very large volume is hired and then played back at a small volume, there is a lack of treble and bass. In order to compensate, when recording for a rock band with a large volume, it is necessary to raise the low frequency (around 100 Hz) and the high frequency (around 4 kHz). The louder the band, the more boost you need. The use of a heart-shaped microphone with a close-range effect (which raises the low frequency) and a live peak-to-peak curve (which raises the high frequency) helps to compensate for this effect.
Get a harmonious blend. If you mix two instruments with similar sounds, such as lead guitars and rhythm guitars, they tend to stick together and it's hard to tell which guitar is being led. However, after the two instruments are not balanced, they can be clearly distinguished. For example, when the lead guitar is raised at 3 kHz, the sound is sharp, and the rhythm guitar is attenuated at 3 kHz to soften the sound. This will result in a more harmonious harmony and a clearer mix. Based on the same principle, it is also suitable for mixing between a bass guitar and a bass drum. Because their sounds appear in the same low frequency band, they are easily confused and masked. To distinguish them, while thickening the bass guitar sound, thin the bass drum sound. vice versa. The idea is to have each instrument have a separate space in the spectrum. For example, the bass guitar sound is full of the bass zone, the synthesizer chord is focused on the mid-bass zone, the lead guitar is placed in the mid-high range with sharpness, and the cymbal is located in the high-pitched area with sparkle and vitality.
Compensate for the placement of the microphone. Sometimes you have to pick up close-range sounds to avoid background and leaking sounds. But a close-knit microphone is only a part of the instrument, which changes the tone of the instrument, and equalization can partially compensate for changes in the tone. If the microphone is picked up near the sound hole of the acoustic guitar, because the bass in the guitar sound is too heavy due to the strong low frequency of the guitar, the low frequency of the soundtrack can be attenuated on the mixer to recover it. Natural tone balance.
This balanced usage saves the days spent fixing the poor track recorded during live concert recordings. Because in the concert, the noisy sound of the stage monitor will enter the recording/sounding microphone, so close-range pickup has to be used to prevent the sound of the monitor from entering and returning. Due to this close-range microphone placement, or due to the pickup sound of the monitor speakers, an unnatural sound quality will result. In this case, using equalization is the only way to get the soundtracks available.
"Remixing" a single soundtrack. If a track contains two different instruments, sometimes you want to use equalization to change the mix in that track. Acoustic biasing for a sound track containing bass and synthesizers. Use LF EQ (Low Frequency Equalization) to boost or attenuate the equalization of the bass without affecting the synthesizer too much. This balanced recording is more effective when the two instruments have a farther separation in their frequency range.
Improve the sound quality balance of the entire mix. To get a better sound, to make the songs in the collection more similar, or to make the collection of songs closer to a commercial collection, you can equalize the stereo mix of each song during mastering. An effective tool for this purpose is the Hamonic Balancer.
When recording at any time, the ideal situation should be to use the correct microphone in the right place and in a room with a good sound. Depending on the situation, you have the flexibility to choose equilibrium. In short, the sound recorded using equalization should be better than the sound without equalization.
In a communication system, the insertion of an equalizer in the lanyard system can reduce the effects of intersymbol interference.
Adjustment method Subwoofer: 20Hz-40Hz, the sound is strong and powerful when appropriate. Controls the sound of thunder, bass drums, organ and bass. Excessive promotion can make music confusing.
Bass: 40Hz-150Hz, is the basic part of the sound, its energy accounts for 70% of the entire audio energy, is an important component of the performance of music style. When appropriate, the bass is relaxed and the sound is full and soft. When it is not enough, the sound is thin, 150Hz. When it is excessively lifted, the sound will be boring, the brightness will decrease, and the nasal sound will be enhanced.
Mid-bass: 150Hz-500Hz, is the structural part of the sound. The voice is located at this position. When it is insufficient, the singing sound will be drowned by the music. The sound is soft and weak. When it is properly raised, it will feel strong and powerful, and improve the intensity and loudness of the sound. Excessive boosting will make the bass hard, and 3-6dB overshoot at 300Hz. If you add reverb, it will seriously affect the clarity of the sound.
Midrange: 500Hz-2KHz, containing the low harmonics and overtones of most instruments, is the characteristic sound of snare drums and percussion instruments. The sound is clear and bright when appropriate, and the sound is awkward when not enough. A phone-like sound is produced when over-promoted.
Middle and high-pitched sound: 2KHz-5KHz, which is the characteristic sound of the string (the sound of the bow and the string of the string, the sound of the finger of the play string). When the sound is insufficient, the penetrating power of the sound is lowered. When it is too strong, the recognition of the language syllable is masked.
Treble: 7KHz-8KHz, is the frequency that affects the sound layering. Excessive ascension will make the piccolo and flute sound prominent, the language's teeth will be aggravated and the tone will be hairy.
Extremely high sound: 8KHz-10KHz, when appropriate, the metallurgical permeability of the triangle and the vertical * is high, and the rhythm of the sand clock is clearly distinguishable. Excessive lifting will make the sound unnatural and easily burn high-frequency units.
The sound of a balanced sound should be:
Below 150Hz (bass) should be full, soft and flexible;
150Hz-500Hz (middle bass) should be thick and powerful, not turbid;
500Hz-5KHz (medium and high) should be bright and not hard;
Above 5KHz (treble) should be slender, smooth and not sharp.
When the whole frequency response is flat: the sound is naturally full and flexible, and the level is clear and smooth. When the frequency response is multi-peak valley: the sound is rough and turbid, the treble is harsh and hairy, and the layered sound is easy to generate feedback whistling.
The acoustic characteristics of the frequency:
30~60Hz Dreary If there is no considerable loudness, it is difficult for the human ear to feel.
60~100Hz Heavy and heavy 80Hz can produce a strong "heavy sense" effect, and the loudness will not give a comfortable feeling, which can give people a strong stimulation.
100~200Hz Fullness 200~500Hz The intensity is easy to cause the snoring of the snoring.
500~1KHz If the brightness is increased by 10dB near 800Hz, it will obviously produce a sense of noisy and narrow.
1K~2KHz Translucent 2K~4Kz Sharp 2800Kz has the strongest relationship between brightness and 3400Hz, which is easy to cause hearing fatigue.
4K~8Kz Crisp 6800Hz forms a scream, sharp feeling, >7.5KHz sound is clear and slender.
8K~16Kz slender. Double bass: full and deep at 60Hz ~ 100Hz. At 600 Hz, the sound is rumble, the sense of presence is at 2.5 kHz, and the noise of the strings is above 3 kHz. Attenuating the components around 200 Hz to 500 Hz can make the sound clear.
Electric guitar: The sound is at 60Hz, the fullness is at 100Hz, the hum is at 500Hz, the sense of presence or sharpness is between 2kHz and 3kHz, and the humming or squeaking is above 6kHz.
Drum type: The fullness is between 100Hz and 200Hz, the drum sound is ambiguous at 250Hz~800Hz (can be attenuated in this range), the trivial useless snare drum sound is between 1kHz and 3kHz, and the sound is 5kHz. Attenuating the loud drum sound near 600 Hz can reduce the box sound. Increasing the speed from 10 kHz to 12 kHz makes the dull cymbals sound more delicate and crisp.
Low-pitched drum: fullness and strength below 60Hz, between 300Hz and 800Hz is a kind of tearing paper sound (attenuation of 400Hz ~ 600Hz components can make the sound better), hum and percussion sounds from 2kHz to 6kHz.
Saxophone: The warmth is at 500Hz, the harshness is at 3kHz, and the key noise is above 10kHz.
Native guitar: fullness or slamming at 80Hz, live sensation at 5kHz, plucking (pick) noise above 10kHz.
Acoustic guitar miniature microphone pickup: In order to make the guitar sound more "original", it can be attenuated in a narrow frequency range of 1.2 kHz to 1.5 kHz, which may attenuate some high frequency components.
Vocals: The fullness of male voice is between 100Hz and 200Hz, the fullness of female voice is between 200Hz and 400Hz, the buzzing or nasal sound is between 500kHz and 1kHz, the sense of presence is at 5kHz, and the buzz is sounded (“s†and “sh†sounds) From 3 kHz to 10 kHz.
Example: The sound of a vocal soundtrack is too full or rumbling. It can be attenuated with a low-frequency equalization knob (for example, at 100 Hz) until the sound heard is natural. If the drum sound is too slow or like it is suppressed, adjust the IF equalizer button and raise it at 5 kHz to 10 kHz until the drum sound is clear and crisp.
Don't pause when making a balanced adjustment to the approximate frequency range you need. Continue to use full or full attenuation to make the effect more visible. Finally, go back and fine tune its frequency and its boost or attenuation until you feel the most satisfactory sound quality balance.
If the instrument sounds hum, dull or harsh, and you don't know where to start to adjust the balance. At this time, you can use a frequency-selectable equalizer, first increase its boost amount, and then select the frequency segments one by one until the sound of the selected frequency segment matches the tone of the problem. Finally, the equalization amount of this frequency segment is attenuated until the sound returns to normal. For example, when picking up a grand piano, the microphone is too close to the cover to cause a dull staining effect - perhaps the output of the 300Hz accessory is too high. At this time, the low-frequency equalization is used to increase the equalization amount, and the center frequency is changed so that the dull sound that appears is more significant. Finally, the equalization amount of this frequency is attenuated until the piano sound returns to normal.
In general, avoid excessive boosts because doing so can distort the signal. Therefore, sometimes when it is necessary to raise the high frequency without causing the signal to be distorted, try to use the method of attenuating the low frequency to achieve the purpose of raising the high frequency. To reduce the turbidity of the sound or enhance its sharpness, you can attenuate 1 to 2 dB around 300 Hz - either attenuate each instrument or attenuate the entire mix. At the same time, care should be taken not to increase the equalization of each instrument at the same frequency.
When to use the equalization Before using the equalization, try to replace the microphone or change the placement of the microphone to see if the result is the desired sound quality. In doing so, it is more authentic than the sound effect obtained by using equalization. Many sound engineers who pursue natural sounds avoid using balance. They complain that due to the excessive phase shift or bell-bell effect caused by the use of equalization, they usually use extremely detailed microphone placement technology, using high-quality microphones, to obtain a natural tone balance without using equalization.
The usual practice is to do a straight recording (without equalization) and then equalize the soundtrack during the downmix.
Some instruments require a lot of equalization to make the sound better. In this case, you can apply equalization during recording. When you add equalization, you should ask the musician to listen to the sound during playback until it gets better. When multi-track recordings are played back through the monitor console, the monitored sounds may not be correctly expressed unless those soundtracks have been over-balanced (assuming there is no equalization on the monitor console).
Balanced Usage The following are some applications for balancing:
Improve sound quality. The main purpose of equalization is to make the sound of the instrument more beautiful. For example, the singer can use a high-frequency roll-off balance to reduce the hum, or cut off the "fringe" of the directly recorded electric guitar. It is also possible to make a 100Hz boost on the floor pass drum to get a fuller drum sound, or to make some attenuation around 250Hz on the bass guitar to improve its clarity. Attenuating the frequency components around 100 Hz helps to reduce bass accumulation due to numerous harmonics. Of course, the frequency response of each microphone and its placement also affect the quality of the sound.
Although it is possible to set the equalization for each track when listening alone, a better method is to set those equalizers when playing back the overall mix. This is because an instrument can be masked or hidden under certain frequencies of another instrument. For example, the cymbal sound can mask the "s" sound in the song, making the song slower - even when it is so beautiful.
Create a sound effect. Excessive balance reduces the fidelity of the sound, but it creates an interesting sound. For example, a steep attenuation of vocals at low and high frequencies can result in a "telephone" sound effect. This effect can be achieved with a 1 kHz bandpass filter. To make a stereo sound on a mono keyboard soundtrack, simply send the keyboard sound signal to the two channels of the mixer. The signal biased on the left channel enhances the low frequency and attenuates the high frequency, while the signal biased on the right channel attenuates the low frequency and boosts the high frequency.
Use low frequency components below the low end of the frequency range of the recorded instrument to reduce low frequency noise - low frequency leakage, air conditioning rumble and microphone stand crash. The frequency range of the instrument can be found in Table 10.1. For example, the lowest frequency of the violin is around 200 Hz, so a low-cut filter (or high-pass filter) can be used to set it to 200 Hz (if there is such a filter). This low-cut filter does not change the sound quality of the violin because the filtered frequency is below the lowest frequency of the violin. Similarly, the composition of the bass drum above 9 kHz has little or no output, so when the bass drum is applied above 9 kHz, the diaphragm leakage can be reduced. Filtering out the frequency components below 100Hz for most instruments helps to reduce the rumble and wheezing of the air conditioner. Try to use the measure of the low frequency of the audience microphone to avoid turbid bass. To reduce the AC hum, you can use a parametric equalizer to set the attenuation to 24dB at 60Hz, 120Hz and 180Hz (in the US) or at 50Hz, 100Hz and 150Hz (in Europe). 30.
Compensate for the "Fletcher-Monsoon" effect. This is a phenomenon discovered by Fletcher and Monzon, that is, the human ear is less sensitive to bass and treble at low volume than to bass and treble at high volume. Therefore, when a player with a very large volume is hired and then played back at a small volume, there is a lack of treble and bass. In order to compensate, when recording for a rock band with a large volume, it is necessary to raise the low frequency (around 100 Hz) and the high frequency (around 4 kHz). The louder the band, the more boost you need. The use of a heart-shaped microphone with a close-range effect (which raises the low frequency) and a live peak-to-peak curve (which raises the high frequency) helps to compensate for this effect.
Get a harmonious blend. If you mix two instruments with similar sounds, such as lead guitars and rhythm guitars, they tend to stick together and it's hard to tell which guitar is being led. However, after the two instruments are not balanced, they can be clearly distinguished. For example, when the lead guitar is raised at 3 kHz, the sound is sharp, and the rhythm guitar is attenuated at 3 kHz to soften the sound. This will result in a more harmonious harmony and a clearer mix. Based on the same principle, it is also suitable for mixing between a bass guitar and a bass drum. Because their sounds appear in the same low frequency band, they are easily confused and masked. To distinguish them, while thickening the bass guitar sound, thin the bass drum sound. vice versa. The idea is to have each instrument have a separate space in the spectrum. For example, the bass guitar sound is full of the bass zone, the synthesizer chord is focused on the mid-bass zone, the lead guitar is placed in the mid-high range with sharpness, and the cymbal is located in the high-pitched area with sparkle and vitality.
Compensate for the placement of the microphone. Sometimes you have to pick up close-range sounds to avoid background and leaking sounds. But a close-knit microphone is only a part of the instrument, which changes the tone of the instrument, and equalization can partially compensate for changes in the tone. If the microphone is picked up near the sound hole of the acoustic guitar, because the bass in the guitar sound is too heavy due to the strong low frequency of the guitar, the low frequency of the soundtrack can be attenuated on the mixer to recover it. Natural tone balance.
This balanced usage saves the days spent fixing the poor track recorded during live concert recordings. Because in the concert, the noisy sound of the stage monitor will enter the recording/sounding microphone, so close-range pickup has to be used to prevent the sound of the monitor from entering and returning. Due to this close-range microphone placement, or due to the pickup sound of the monitor speakers, an unnatural sound quality will result. In this case, using equalization is the only way to get the soundtracks available.
"Remixing" a single soundtrack. If a track contains two different instruments, sometimes you want to use equalization to change the mix in that track. Acoustic biasing for a sound track containing bass and synthesizers. Use LF EQ (Low Frequency Equalization) to boost or attenuate the equalization of the bass without affecting the synthesizer too much. This balanced recording is more effective when the two instruments have a farther separation in their frequency range.
Improve the sound quality balance of the entire mix. To get a better sound, to make the songs in the collection more similar, or to make the collection of songs closer to a commercial collection, you can equalize the stereo mix of each song during mastering. An effective tool for this purpose is the Hamonic Balancer.
When recording at any time, the ideal situation should be to use the correct microphone in the right place and in a room with a good sound. Depending on the situation, you have the flexibility to choose equilibrium. In short, the sound recorded using equalization should be better than the sound without equalization.
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