ni untuk yang pro sikit atau yang sedang belajar guna equalizer dan crossover.
Before we examine some methods of equalizing, it's
important to note the areas of the audio band and what effect they have
on what we hear. The audio band can effectively be broken down into six
distinct ranges, each one having enormous impact on the total sound.
� Sub-Bass � The very low bass between 16Hz and 60Hz that
encompasses sounds that are often felt more than heard, such as thunder
in the distance. These frequencies give the music a sense of power even
if they occur infrequently. Too much emphasis on this range makes the
music sound muddy.
� Bass � The bass between 60Hz and 250Hz contains the fundamental
notes of the rhythm section, so EQing this range can change the musical
balance, making it fat or thin. Too much boost in this range can make
the music sound boomy.
� Low Mids � The midrange between 250Hz and 2000Hz contains the low
order harmonics of most musical instruments and can introduce a
telephone-like quality to the music if boosted too much. Boosting the
500Hz to 1000Hz octave makes the instruments sound horn-like, while
boosting the 1kHz to 2kHz octave makes them sound tinny. Excess output
in this range can cause listening fatigue.
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� High Mids � The upper midrange between 2kHz and 4kHz can mask the
important speech recognition sounds if boosted, introducing a lisping
quality into a voice and making sounds formed with the lips such as "m," "b" and "v" indistinguishable. Too much boost in this range "
especially at 3kHz " can also cause listening fatigue. Dipping the 3kHz
range on instrument backgrounds and slightly peaking 3kHz on vocals can
make the vocals audible without having to decrease the instrumental
level in mixes where the voice would otherwise seem buried.
� Presence � The presence range between 4kHz and 6kHz is
responsible for the clarity and definition of voices and instruments.
Boosting this range can make the music seem closer to the listener.
Reducing the 5kHz content of a mix makes the sound more distant and
transparent.
� Brilliance � The 6kHz to 16kHz range controls the brilliance and
clarity of sounds. Too much emphasis in this range, however, can
produce sibilance on the vocals.
Leo di Gar Kulka � �Equalization - The Highest, Most
Sustained Expression of the Recordist�s Heart,� Recording
Engineer/Producer, Vol. 3, Number 6, November/December, 1972
For
those of you who have an easier time visualizing the audio spectrum in
one-octave increments (like those found on a graphic equalizer), here�s
an octave look at the same chart.
| Easy-To-Remember Golden Rules Of EQ
1. If it sounds muddy, cut some at 250Hz.
2. If it sounds honky, cut some at 500Hz.
3. Cut if you�re trying to make things sound
better.
4. Boost if you�re trying to make things sound
different.
5. You can�t boost something that�s not there
in the first place.
|
| 31Hz | Rumble, "chest" |
| 63 Hz | Bottom |
| 125Hz | Boom, thump, warmth |
| 250Hz | Fullness or mud |
| 500Hz | Honk |
| 1KHz | Whack |
| 2KHz | Crunch |
| 4KHz | Edge |
| 8KHz | Sibilance, definition, "ouch!" |
| 16 KHz | Air |
 |
| Figure 5 |
Tricks and Tips General Tips Use a narrow Q (bandwidth) when cutting; use wide Q's when boosting
If you want something to stick out, roll off the bottom; if you want it to blend in, roll off the top
For Snare �
To find the �point� on the snare, boost the upper midrange starting at
about +5 or 6dB at 2kHz or so. Open up the bandwidth (if that parameter
is available) until you get the snare to jump out, then tighten the
bandwidth until you get only the part of the snare sound that you want
most. Then fine-tune the frequency until you need the least amount of
boost in order to make it jump out of the mix.
For Drums�
Dave Pensado: A lot of the music I do has samples in it and that
gives the producer the luxury of pretty much getting the sound he
wanted from the start. In the old days you always pulled out a little
400 on the kick drum. You always added a little 3 and 6 to the toms.
That just doesn't happen as much any more because when I get the tape,
even with live bands, the producer's already triggered the sound he
wanted off the live performance and the drums are closer.
For Bass �
The ratio between the low bass (80-120Hz) and the mid-bass
(130Hz-200Hz) is important. Try using two fairly narrow peaking bands,
one at 100Hz and another at 140Hz and boost one and cut the other. If
the bass is too warm, sometimes reducing the upper band can make it
more distinct without removing the deeper fundamentals that live in the
100Hz band. Also, try boosting some of the 1kHz area since this is
where a lot of the sound of the Fender bass lives.
For Fatter Guitars �
Boost midrange a lot (9dB or so) and sweep the frequencies until
you hear the range where the guitar sounds thick but yet still bright
enough to cut through. Now, back the boost down to about +4 or so until
the guitar cuts through the mix without being too bright.
Don Smith: I use EQ different from some people. I don't just use
it to brighten or fatten something up; I use it to make an instrument
feel better. Like on a guitar, making sure that all the strings on a
guitar can be heard. Instead of just brightening up the high strings
and adding mud to the low strings, I may look for a certain chord to
hear more of the A string. If the D string is missing in a chord, I
like to EQ and boost it way up to +8 or +10 and then just dial through
the different frequencies until I hear what they're doing to the
guitar. So I'm trying to make things more balanced in the way they lay
with other instruments.
For Vocals�
Boost a little at 125Hz to 250Hz to accentuate the voice
fundamental and make it more �chesty�-sounding. The 2kHz to 4kHz range
accentuates the consonants and makes the vocal seem closer to the
listener.
Ed Seay: On a vocal sometimes I think, �Does this vocal need a
diet plan? Does he need to lose some flab down there?� Or sometimes,
�We need some weight on this guy so let's add some 300 cycles and make
him sound a little more important.�
David Sussman: If I'm recording vocals, I like to roll off quite
a bit on the bottom end so the compressor doesn't start kicking in and
bringing up any low end rumble or noise. If I'm EQing a piano or
something that�s already been recorded, I sometimes roll off a lot of
the bottom so I leave a lot of room for the bass and the kick drum to
occupy. A lot of times I don�t need anything under probably 100Hz. I'll
do some rolling off with the filters and then I may take a bell curve
and zone in on a couple of other woofy areas on certain instruments.
Dave Pensado: I think of EQ as an effect much the same way you
would add chorus or reverb to a particular instrument or vocal. Like, I
might have a vocal where I think it's really EQed nicely and then I'll
add a little more 3k just to get it to bite a little more. Then it just
makes me feel like the singer was trying harder and it brings out a
little bit of passion in his or her voice. So I tend to be most
effective when I do the standard equalizing, then take it to the next
level, thinking of it as an effect.
Source: ArtistPro
Subject: Pa maksud dia ni ahhh.... 
2/5/2009, 2:15 am
...ni mo tanya member smua la pa maksud ni singkatan2 berkaitan dgn i.c.e ni n yg sewaktu dengannya...tolong ya sya pun mo tau jg x mo juga sembarang pasang sound tapi x brapa tau basic2 dia k...
)
jgn main yg bukan2...nanti sengsara...hehe
