A big, booming bass drum will not suffer – indeed, will be improved – if you use a shelving filter to remove some frequencies above, say, 15,000Hz.īut that’s not difficult. You will boost the frequencies that bring out the sound’s best qualities and cut the ones that muddle it. You’re going to use that EQ to take the sound from where it is to where you want it to be. On an individual level, when applied to a specific, solo’d sound, you’re going to use it to make things sharper. You’ve loaded it up, you understand how Q and gain work, and you’re ready to go. If you don’t want that then consider investing in a linear or transparent EQ, which will do nothing but boost and cut your frequencies without colouring your sound. Some EQs provide a subtle colour or warmth to the sound when used. Essentially they’re a stripped-down version of the high- and low-pass filters, which cut or boost the frequencies in far less dramatic fashion. Handily, this can also help eliminate background hum. This is useful when you’re doing things such as EQing vocals – with so few bass frequencies in them there’s often no need to have any lows at all, and so a high-pass filter will get rid of them for you. The opposite is true for a low-pass filter, which gets rid of the highs. In other words it lets you eliminate the lows. A high-pass filter is a specific type of gain cut that removes all frequencies below a certain point. Most of the time EQs will include what are known as high- and low-pass filters. OK, there are one or two more things to bear in mind. Again, instruments such as bass drums are down low, violins up high, the human voice somewhere in the middle. This range is known as the frequency spectrum. Dogs, obviously, can hear much higher, but since they aren’t great music fans the 20-20,000 range is what you’ll see on most EQ displays. Humans can hear only a certain range of frequencies, from as low as 20Hz to as high as about 20,000. This is very useful for elements such as vocals or stringsįrequencies are measured in Hertz (Hz), named for Heinrich Rudolf Hertz, who was the first to identify electromagnetic waves. Any and all frequencies under about 700Hz will be cut. You’d be hard-pressed to find a music session that didn’t have some EQ in it somewhere.Ī high-pass filter. In a full song where you have any number of different sounds, all with their own frequencies, this is an exceedingly important technique. You can also cut that bass, or remove some of the high frequencies so things don’t get too sharp. You can make the bass louder, the highs higher. O Fixed bug: In Waves SoundShifter, AudioSuite processing of fragmented regions is now distortion-free.An EQ enables you to boost or reduce those frequencies. O Fixed bug: In Pro Tools, automation is no longer overwritten on second pass while using latch with latch prime enabled. O Fixed bug: In Pro Tools, pressing keys on the keyboard will no longer erase previously written Automation in Latch or Touch mode. O New Pro Tools DAE preference: Plug-in parameter single-click text entry. O Windows Vista and Windows 7 UAC (User Account Control) compliance. O Reduced memory consumption during plug-in scan. * ICON Meter Support for Additional Plug-ins O PuigTec EQP-1A & PuigTec MEQ-5 added to Platinum and Diamond O Real plug-in parameter units displayed in automation lanes O Near-zero scan time on Mac & reduced scan time on PC * New VST3 Features in Cubase, Nuendo & Studio One With improved compatibility across the board, enhanced DAW and OS support, and a host of new features, V7 will take your Waves experience to new heights. Waves Version 7 represents the latest step in the evolution of Waves.
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