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gravious wrote:

www.producerpack.com wrote:check this out

http://www.producerpack.com/info.asp?ca ... uct_id=125

I don't believe God encouraged adverts are in the Bible...


"Blessed are the samplepackers..."

For they shall inherit the ban?

Little Boh Peep wrote:

gravious wrote:

www.producerpack.com wrote:check this out

http://www.producerpack.com/info.asp?ca ... uct_id=125

I don't believe God encouraged adverts are in the Bible...


"Blessed are the samplepackers..."

For they shall inherit the ban?

For they shall inherit the FAIL...

sample people... with their loops... fuckers.



unless you are using it in live pa (even then its partially justified), loops are for babies...

spam-zap!!

im really frustrated at albino, i dont even know to start a new patch. and what is cream and silk bullshit? wheres the lowpass and the hi pass?

victorxray wrote:Technically a square wave isn't a 'limited sine' but actually a super set of the fundamental frequency plus the 3rd harmonic at 1/3rd volume, the 5th harmonic at 1/5th volume, 7th harmonic at 1/7th volume, and so on (theoretically to infinity). If you low-pass filter that square wave as was recommended however you'll knock out most of the harmonics and it won't sound so 'bright'. (you could also take a sine and add distortion which will also add harmonics).

The practical problem I have found with a pure sine wave is that it's too linked to different speaker and room responses. I can make a great sub on my studio system (M-Audio BX8s with no sub) but it sounds totally different on my finessed hi-fi speakers I have on my stereo (I know as I always check). Because we are talking about 40Hz, 50Hz, 60Hz and that's right in the bottom end of good speaker's response curves.

Standard concert tuned A is 440Hz (A4). This means that E0 is just above 20Hz (20.6Hz), E1 is 41.2Hz, E2 82.4Hz etc. If you had a sine-wave bass line from E1 to E2, the problem that you might have, is that different speaker systems will have cut-offs lets say in the 40 to 60Hz range which is right in the middle of your bassline.

Also many speaker cabs, to get this low response, tend to resort to tuned port systems which have the side effect of adding resonant spikes where the system is very sensitive.

So lets say the subs roll off at about 50Hz and they have a resonant frequency of 65Hz. This means your C2 note will jump out of all the others and anything below your G#/Ab will rapidly lose volume. But the next week when you play it on a different system in a different club a completely different set of notes may be lost or emphasised. This is also ignoring room effects because the wavelength of such sub-bass frequencies is down in the metre to half-metre range so the size and shape of the room can drastically affect the tuning.

Anyway if you add a bit of upper harmonics to the sub-sine by using a low-pass filtered square wave in addition to the sine, of course you won't overcome this effect but what will happen is the higher overtones will at least suggest the presence of the lower tones and perceptively to the audience, they will be able to discern the sub-bass part.

Also I believe this effect is what is reponsible for the comment that 'sometimes higher notes sound bassier' it's the speaker system response that's doing this.

spoken like a true geek.....na seriously, spot on mate

westernsynthetics wrote:

victorxray wrote:Technically a square wave isn't a 'limited sine' but actually a super set of the fundamental frequency plus the 3rd harmonic at 1/3rd volume, the 5th harmonic at 1/5th volume, 7th harmonic at 1/7th volume, and so on (theoretically to infinity). If you low-pass filter that square wave as was recommended however you'll knock out most of the harmonics and it won't sound so 'bright'. (you could also take a sine and add distortion which will also add harmonics).

spoken like a true geek.....na seriously, spot on mate

Yeah, Electrical Engineering can be a curse sometimes.

Daft Cunt wrote:Compressing bass is a difficult thing to master, and for that reason it might be easier to use a compressor or limiter with presets. I don´t understand why some suggest not to compress bass, but each to their own.

great thread.


just on that point above, compression squashes the sound so compressing basslines may punch them out a bit but it can also cause them to loose a certain amount of their dynamic.. not in all cases tho, i'd say check em case by case.

i dont prefer presets... if youll trust presets you WONT understand the compressor at all..... would be a pitty.....

thanks for all the tips will def be putting them into practice.

Here we got, I just done this EQ chart in .jpg format so you can save it to your hard disk.

^^^ big

dat chart is somefing ive been looking for!!!!!

cheers!!!!!!!!!

im also gunna print a copy out n stick it on the wall beside my comp so dnt forget

eq notes i found and use

FREQUENCY:
USES:

50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass. Peak equalization with a 1.4 Q.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on loud bass lines like rock. Shelf equalization.

100Hz
1. Increase to add a harder bass sound to lowest frequency instruments. Peak Equalization with a Q of 1.0 to 1.4..
2. Increase to add fullness to guitars, snare. Peak Equalization with a Q of 1.0..
3. Increase to add warmth to piano and horns. Peak Equalization. For piano use a Q of 1.0. With horn use a Q of 1.4..
4. Reduce to remove boom on guitars & increase clarity. Peak Equalization with a Q of 1.0 to 1.4..

200Hz
1. Increase to add fullness to vocals. Peak Equalization with a Q of 0.7 to 1.0..
2. Increase to add fullness to snare and guitar ( harder sound ). Peak Equalization with a Q of 1.4.
3. Reduce to decrease muddiness of vocals or mid-range instruments. Peak Equalization with a Q of 1.0.
4. Reduce to decrease gong sound of cymbals. Peak Equalization with a Q of 1.0.

400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume. Peak Equalization with a Q of 1.0.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms). Peak Equalization with a Q of 1.4.
3. Reduce to decrease ambiance on cymbals. Peak Equalization with a Q of 0.7 to 1.0. Alternately try a shelf EQ with a 320 Hz frequency setting.

800Hz
1. Increase for clarity and "punch" of bass. Peak Equalization with a Q of 1.4.
2. Reduce to remove "cheap" sound of guitars. Peak Equalization with a Q of 1.0.

1.5KHz
1. Increase for "clarity" and "pluck" of bass. Peak Equalization with a Q of 1.4..
2. Reduce to remove dullness of guitars. Peak Equalization with a Q of 1.0.

3KHz
1. Increase for more "pluck" of bass. Peak Equalization with a Q of 1.4.
2. Increase for more attack of electric / acoustic guitar. Peak Equalization with a Q of 1.4.
3. Increase for more attack on low piano parts. Peak Equalization with a Q of 1.0.
4. Increase for more clarity / hardness on voice. Peak Equalization with a Q of 1.0.
5. Reduce to increase breathy, soft sound on background vocals. Peak Equalization with a Q of 1.0.
6. Reduce to disguise out-of-tune vocals / guitars. Peak Equalization with a Q of 1.0.
7. Increase for more attack on the snare or other drums. Peak Equalization with a Q of 1.4 to 2.8.

5KHz
1. Increase for vocal presence. Peak Equalization with a Q of 1.0.
2. Increase low frequency drum attack ( foot / toms). Peak Equalization with a Q of 1.4 to 2.8.
3. Increase for more "finger sound" on bass. Peak Equalization with a Q of 1.4.
4. Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars). Peak Equalization with a Q of 1.4.
5. Reduce to make background parts more distant. Peak Equalization with a Q of 1.0.
6. Reduce to soften "thin" guitar. Peak Equalization with a Q of 1.0.

7KHz
1. Increase to add attack on low frequency drums ( more metallic sound ). Peak Equalization with a Q of 1.4 to 2.8.
2. Increase to add attack to percussion instruments. Peak Equalization with a Q of 1.4 to 2.8.
3. Increase on dull singer. Peak Equalization with a Q of 1.0.
4. Increase for more "finger sound" on acoustic bass. Peak Equalization with a Q of 1.4.
5. Reduce to decrease "s" sound on singers. Peak Equalization with a Q of 2.8. Sweep frequency slightly (between 7 kHz and 8 kHz) to find the "exact" frequency of the S
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano. Peak Equalization with a Q of 1.0 to 1.4.

10KHz
1. Increase to brighten vocals. Peak Equalization with a Q of 1.0.
2. Increase for "light brightness" in acoustic guitar and piano. Peak Equalization with a Q of 1.0.
3. Increase for hardness on cymbals. Peak Equalization with a Q of 1.4.
4. Reduce to decrease "s" sound on singers. Peak Equalization with a Q of 1.4.

15KHz
1. Increase to brighten vocals (breath sound). Peak Equalization with a Q of 1.0.
2. Increase to brighten cymbals, string instruments and flutes. Peak Equalization with a Q of 1.0.
3. Increase to make sampled synthesizer sound more real. Peak Equalization with a Q of 1.4 to 2.8.

...

cleen version

useful frequencies for several instruments:

Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)

Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)

Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)

Snare Drum: fatness (240 Hz), crispness (5 kHz)

Kick Drum: bottom (60 - 80 Hz), slap (4 kHz)

Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)

Toms: attack (5 kHz), fullness (120 - 240 Hz)

Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)

Another one:


Taken from one of the more useful pages of my mixer's manual.

Great thread. Very good read with loads of questions answered for me.

first post..

best and only guide out there - apperciate it!

the info about frequenties are cool but you also have to trust your own ears

Dunno where to start.. but already i have learnt about 30 new things for the day.. this thread is huge.