loopdon
14-07-2006, 02:16 AM
nicked this from a tutorial... related to tarnce but i found it interesting
Synthbass EQ
---> Open the Waves Q10 Equalizer on the first insert of the bass track.
Correcting the EQ on the synthbass is essential for the main mix.
Producers universally agree that the interaction between kick and bass is a high priority.
This is especially important in Club music to create a compelling
dance groove (or at least elicit nodding heads from those worried about their street credibility).
This bass track presents five critical areas that require correction.
Four bands of the Waves Q10 EQare deployed to detect and eliminate interfering frequencies caused by tonal changes during the bassline: 67 Hz (C), 101Hz (D#), 117 Hz, and 155 Hz.
An additional high-pass filter eliminates the sub-frequencies.
Set the sequencer loop pointer to bars 1-5 and play that Segment.
Our technique for thefirst four filters involves configuring them to the maximum boost, scanning to find the problem frequency, and then changing the filter to the appropriate cut amount to remove the problem.
step by step:
1. Activate band 2, Set the type to peak filter, Q = 100, and Gain = 18 dB.
2. Scan through the range 50-100 Hz usingthe Freq field. When you hear a sudden increase in sound almost like feedback, you have found the first critical area around 67 Hz.
3. Set Gain = -6 dB.
4. Band 2 now has the following settings: Freq = 67 Hz, Q= 100, Gain = -6 dB.
5. Repeat steps 1-3 for bands 3-5 but scan in the following ranges:
Band 3: 50-200 Hz. The problem is at 101 Hz.
Band 4: 100-200 Hz. The problem is at 117 Hz.
Band 5: 100-200 Hz. The problem is at 155 Hz.
These three filters all receive the Same amount of cut and Q. The resulting
settings are:
Band 3: Freq = 101 Hz, Q = 100, Gain = -6 dB
Band 4: Freq = 117 Hz, Q = 100, Gain = -6 dB
Band 5: Freq = 155 Hz, Q = 100, Gain = -6 dB
These regions are very ctose to one another. You could lower the Q settings (thus broadening the bandwidth of affected frequencies) of neighboring bands and solve two problems with a single filter. However, I recommend working as accurately as possible and avoiding wide filters that affect too
many frequencies. This achieves the rnost neutral and smooth sound. Let's turn our attention to finding and correcting the sub-frequencies to accommodate the kick. Set band 1 to a high-pass filter and scan the low frequencies until the bass and kickcomplement each otherwithout interference
(80 Hz). The settings that result adequately reduce the lower region from 16-80 Hz.
Band 1 (Freq = 80 Hz, Gain = 0 dB, Q = 7)
last is questionable, imo..
the hz values used are related to a wav fĂ*le that was linkd to the tut so they will prolly be different in your tunes :cheese:
so don't go notching 67 hz just because the tut says so, innit
--- this is just an example
Synthbass EQ
---> Open the Waves Q10 Equalizer on the first insert of the bass track.
Correcting the EQ on the synthbass is essential for the main mix.
Producers universally agree that the interaction between kick and bass is a high priority.
This is especially important in Club music to create a compelling
dance groove (or at least elicit nodding heads from those worried about their street credibility).
This bass track presents five critical areas that require correction.
Four bands of the Waves Q10 EQare deployed to detect and eliminate interfering frequencies caused by tonal changes during the bassline: 67 Hz (C), 101Hz (D#), 117 Hz, and 155 Hz.
An additional high-pass filter eliminates the sub-frequencies.
Set the sequencer loop pointer to bars 1-5 and play that Segment.
Our technique for thefirst four filters involves configuring them to the maximum boost, scanning to find the problem frequency, and then changing the filter to the appropriate cut amount to remove the problem.
step by step:
1. Activate band 2, Set the type to peak filter, Q = 100, and Gain = 18 dB.
2. Scan through the range 50-100 Hz usingthe Freq field. When you hear a sudden increase in sound almost like feedback, you have found the first critical area around 67 Hz.
3. Set Gain = -6 dB.
4. Band 2 now has the following settings: Freq = 67 Hz, Q= 100, Gain = -6 dB.
5. Repeat steps 1-3 for bands 3-5 but scan in the following ranges:
Band 3: 50-200 Hz. The problem is at 101 Hz.
Band 4: 100-200 Hz. The problem is at 117 Hz.
Band 5: 100-200 Hz. The problem is at 155 Hz.
These three filters all receive the Same amount of cut and Q. The resulting
settings are:
Band 3: Freq = 101 Hz, Q = 100, Gain = -6 dB
Band 4: Freq = 117 Hz, Q = 100, Gain = -6 dB
Band 5: Freq = 155 Hz, Q = 100, Gain = -6 dB
These regions are very ctose to one another. You could lower the Q settings (thus broadening the bandwidth of affected frequencies) of neighboring bands and solve two problems with a single filter. However, I recommend working as accurately as possible and avoiding wide filters that affect too
many frequencies. This achieves the rnost neutral and smooth sound. Let's turn our attention to finding and correcting the sub-frequencies to accommodate the kick. Set band 1 to a high-pass filter and scan the low frequencies until the bass and kickcomplement each otherwithout interference
(80 Hz). The settings that result adequately reduce the lower region from 16-80 Hz.
Band 1 (Freq = 80 Hz, Gain = 0 dB, Q = 7)
last is questionable, imo..
the hz values used are related to a wav fĂ*le that was linkd to the tut so they will prolly be different in your tunes :cheese:
so don't go notching 67 hz just because the tut says so, innit
--- this is just an example