Do I need to put EQs on samples of such instruments like drums, cymbals, guitars, woodwinds, etc - the accoustic instruments, not synths or so.
I mean that if I'm making a song where only accoustic (or live, dunno how to call them) instruments are playing, should I apply additional EQs or it's reasonable that if the samples are made by professionals (they are taken from shareware sample CDs) they have the exact equalization as they should sound already?
I don't want to distort an authentic sound of such instruments myself, so tell me please...
additional equalization for good quality samples
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marcuspocus
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samplaire
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{EDIT} Marcus was a bit faster than me 
The best way to test the sample (or the whole track in your daw - even better because more reasonable) and its frequency range is to put a very narrow yet extermly high on db EQ and move the frequency through the whole frequency range. There are many useless frequencies in instruments - try for instance 300Hz. If it booooing or something like that; or in a mid frequency range it's eeeeeeing or oooooing - then you can remove the frequency by moving the db slider down to the min position. Many equalizers add phase to the signal (unwanted thing) so you have to use the best eq possible and observe the results. Try Nestor's guide on mastering: http://www.planetz.com/forums/viewtopic ... orum=21&11 because the thing you do is just... mastering. The rule of thumb is to remove or lower frequencies than adding something in a particular range - adding a frequency adds also harmonics that can be unwanted... EQing is a very difficult proccess but the thing I suggest here (the one about listening in a very extremly way to frequencise) is a very good yet very simple way to spy unwanted booo's
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Sir SamPlaire
<font size=-1>[ This Message was edited by: samplaire on 2003-05-06 06:37 ]</font>
The best way to test the sample (or the whole track in your daw - even better because more reasonable) and its frequency range is to put a very narrow yet extermly high on db EQ and move the frequency through the whole frequency range. There are many useless frequencies in instruments - try for instance 300Hz. If it booooing or something like that; or in a mid frequency range it's eeeeeeing or oooooing - then you can remove the frequency by moving the db slider down to the min position. Many equalizers add phase to the signal (unwanted thing) so you have to use the best eq possible and observe the results. Try Nestor's guide on mastering: http://www.planetz.com/forums/viewtopic ... orum=21&11 because the thing you do is just... mastering. The rule of thumb is to remove or lower frequencies than adding something in a particular range - adding a frequency adds also harmonics that can be unwanted... EQing is a very difficult proccess but the thing I suggest here (the one about listening in a very extremly way to frequencise) is a very good yet very simple way to spy unwanted booo's
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Sir SamPlaire
<font size=-1>[ This Message was edited by: samplaire on 2003-05-06 06:37 ]</font>
Hello Spy,
As marcuspocus says, it's a matter of taste. If you like the sound of sample and you think it sits in well with the overall mix, then you probably don't need to do any more eq'ing. But if the sample sounds fine on its own but *doesn't* quite sit in the mix, then you might try a bit of extra eq or compression or whatever.
As marcuspocus says, it's a matter of taste. If you like the sound of sample and you think it sits in well with the overall mix, then you probably don't need to do any more eq'ing. But if the sample sounds fine on its own but *doesn't* quite sit in the mix, then you might try a bit of extra eq or compression or whatever.
well, if i was a pro and i would 100% know what i do - i would follow my taste and thoughts and make everything like i want.
But at this phase, when i'm in a learning phase, i think that it's probably better to stick with the original sound (as probably the samples were recorded and processed with EQs and/or other effects by professional. So my ignorance would just fuck the things up and others will laugh at me
But at this phase, when i'm in a learning phase, i think that it's probably better to stick with the original sound (as probably the samples were recorded and processed with EQs and/or other effects by professional. So my ignorance would just fuck the things up and others will laugh at me
Certainly no one HERE will laugh at you, spy. Clearly at any phase, you can't experiment with EVERYTHING. But at some point, it really is a good idea to mess around a bit, even if the results aren't that good to start with.
Just see what happens !
In my experience, sample CDs, especially cheap (or free !) ones, can often be very poorly edited and mastered.
Just see what happens !
In my experience, sample CDs, especially cheap (or free !) ones, can often be very poorly edited and mastered.
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ChrisWerner
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I believe the most important thing on mastering is, trust your ears!
The best way to learn things is try and error and ask other people what they thing,like you do it now.
Finally don´t try to get everything from one day to the other, it is all a evolving process. When you take your time you will see that every track becomes better and better, because you find your way with every new track. Practice and find "routine".
I try and error since 2 years now with Pulsar ,as you said everyday you´ll get another thought or new ideas.
The best way to learn things is try and error and ask other people what they thing,like you do it now.
Finally don´t try to get everything from one day to the other, it is all a evolving process. When you take your time you will see that every track becomes better and better, because you find your way with every new track. Practice and find "routine".
I try and error since 2 years now with Pulsar ,as you said everyday you´ll get another thought or new ideas.
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FrancisHarmany
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EQ masterclass
EQ can be the difference between a quality recording and a disaster...
http://www.intermusic.com/article.asp?R ... hannel=RCD
There is a part 2 as well!
EQ can be the difference between a quality recording and a disaster...
http://www.intermusic.com/article.asp?R ... hannel=RCD
There is a part 2 as well!
as i see this thread growed into general EQ discussion... that's nice.
To tell you the truth, equalization and compression is my very weak part.
I'm not experienced enough as sound engineer to hear what's good or bad (well, i can hear if the sound is good or bad, hehe, but i can't find the golden mean)
There are so many terms the professionals speak: hiss, hum, phase, harmonics, exciter, aural and psychoaccoustic enchancement, etc... I'm really lost when it comes to this.
I don't even know what kind of EQ should i use for what, parametric, graphic or anything else.
Is there a way to know (if i'm not sure that i can trust my ears) what frequences to remove, adjust or enchance (boost) using a computer? Like if I load some kind of spectral analyzer or so and see that i need to remove XXX Hz frequency and to boos XXX Hz one... I need to practice with quality sound and equalization before i get my ears "teached" so i could more trust them then.
If there's such a way, i would ask you to explain me how to use it...
thank you
To tell you the truth, equalization and compression is my very weak part.
I'm not experienced enough as sound engineer to hear what's good or bad (well, i can hear if the sound is good or bad, hehe, but i can't find the golden mean)
There are so many terms the professionals speak: hiss, hum, phase, harmonics, exciter, aural and psychoaccoustic enchancement, etc... I'm really lost when it comes to this.
I don't even know what kind of EQ should i use for what, parametric, graphic or anything else.
Is there a way to know (if i'm not sure that i can trust my ears) what frequences to remove, adjust or enchance (boost) using a computer? Like if I load some kind of spectral analyzer or so and see that i need to remove XXX Hz frequency and to boos XXX Hz one... I need to practice with quality sound and equalization before i get my ears "teached" so i could more trust them then.
If there's such a way, i would ask you to explain me how to use it...
thank you
(I am watching you)
Spy
Spy
Spy,
Mixing is an art - it's certainly not my forte, but I'm learning all the time too. The crucial thing is to see if everything sits well in a mix and if anything is clashing with other elements. At the most basic level - I usually will roll off some of the bass frequencies on certain tracks which don't explicitly need low-end so that they don't clutter up a tight bassline.
Basically EQ and compression are the basic mixing tools. Please bear in mind that you don't NEED these - only use them if the mix is not sounding 'right' to you. I'd hold off on extra FX until you have a basically nice-sounding mix just with EQ and compression. Compression is a huge subject in itself - just play around with a few compressor plugins and see what they're doing to your sound. I must plug my favourite SFP compressor at this stage - the Orbitone Impressor which is *very* analog-sounding and musical.
But always remember, it's really all down to you and your ears and what you want to achieve with the music you've written. It doesn't matter if you consider yourself to be a pro or not. If in any doubt, listen to some of your favourite recordings by other people and try and work out how they're doing it (not always easy I admit!).
peace
Mixing is an art - it's certainly not my forte, but I'm learning all the time too. The crucial thing is to see if everything sits well in a mix and if anything is clashing with other elements. At the most basic level - I usually will roll off some of the bass frequencies on certain tracks which don't explicitly need low-end so that they don't clutter up a tight bassline.
Basically EQ and compression are the basic mixing tools. Please bear in mind that you don't NEED these - only use them if the mix is not sounding 'right' to you. I'd hold off on extra FX until you have a basically nice-sounding mix just with EQ and compression. Compression is a huge subject in itself - just play around with a few compressor plugins and see what they're doing to your sound. I must plug my favourite SFP compressor at this stage - the Orbitone Impressor which is *very* analog-sounding and musical.
But always remember, it's really all down to you and your ears and what you want to achieve with the music you've written. It doesn't matter if you consider yourself to be a pro or not. If in any doubt, listen to some of your favourite recordings by other people and try and work out how they're doing it (not always easy I admit!).
peace