Signal processing in sound production, the most widely used and most frequently used equalization processing. In the pre-production and simultaneous and post-production sound production of language, music and sound effects, almost equalization is indispensable. Balance processing is also a process of artistic creation. Mr. Zhu Weizhong, an audio expert, has accumulated rich experience in equalization processing through years of audio work practice. The following is an article on balance processing compiled by him. It is a useful reference for young sound producers.
How to use equalization: Although the equalizers are available in a variety of ways, both in stand-alone form and in the mixer, they are used in the same way. If the mixer has high and low sound adjustment, its frequency is preset, usually 100Hz ~ 10kHz. When the EQ knob is adjusted to the 0 position, the equalization does not work, which is called the flat setting; when the knob is rotated clockwise, it is lifted, and when it is rotated counterclockwise, it is attenuated. If the mixer has a variable frequency EQ button, one of the knobs is used to adjust the frequency range and the other is used to adjust the amount of boost or attenuation.
The table lists the fundamental and harmonic wave frequency ranges for instruments and vocals. Harmonic waves only give approximate frequency ranges. For each instrument, as long as the balance at the low end of the fundamental is raised, the warmth and fullness can be enhanced. If the sound is too heavy or dull, the amount of equalization of the fundamental wave should be reduced. Increasing the balance of the harmonic segments enhances the sense of presence and improves clarity; if the sound is too harsh or humming, the harmonic balance should be reduced.
The following are suggestions for frequency equalization of certain instruments. If you want to get the following effects, you can improve. Otherwise it can decay.
Double bass: full and deep at 60Hz; rumble at 600Hz; live at 2.5kHz; strings at 3kHz and above.
Electric guitar: the sound is at 60Hz; the fullness is at 100Hz: the hum is at 500Hz; the sense of presence or strength is 2~3kHz; the humming or squeaking is at 6kHz.
Drum type: fullness is 100Hz; drum sound is ambiguous at 205~600Hz; trivial and useless sound is at 1~3kHz; percussion is at 5kHz; hum and crisp sound at 10kHz.
Bass drum: fullness and strength below 60Hz; crispy sound at 300 ~ 800Hz (if 400 ~ 600Hz attenuation, the sound quality will improve); click or struck sound in 2 ~ 6kHz.
Saxophone: softness is 500Hz; harsh sound is at 3kHz; instrument key noise is above 10kHz.
Acoustic guitar: fullness or slamming at 80Hz; live sensation at 5kHz; plucking (pike) noise above 10kHz.
Vocals: Male fullness is between 100 and 150 Hz; female fullness is between 200 and 250 Hz; roaring or nasal sound is between 500 Hz and 1 kHz; presence is at 5 kHz; tooth squeaking (flicking) is above 6 kHz.
For example, for a vocal track, if the sound is too full or has a rumble, the low-frequency equalization knob of the track (eg, at 100 Hz) can be attenuated until the sound reaches the original sound. When adjusting the equalization to the approximate frequency range, do not pause, it will continue to change; then use the full boost or full attenuation use right, the effect is easy to be heard; finally fine-tune its frequency and boost or attenuation until the most Satisfied sound effects.
If the instrument sounds hum, squeaky or harsh, and you don't know the frequency from which to adjust the equalization, you can use a frequency-selectable equalizer to increase the boost first; then select the frequency segments one by one. Until the tone matches the problematic tone; this frequency segment is finally attenuated until the sound returns to normal. For example, when picking up a piano, the microphone is too close to the piano cover to cause dull staining (maybe the output near 300Hz is too high), so it can be boosted by low frequency equalization, changing its center frequency until it is dull. It will be more significant; then the balance of this frequency segment will be attenuated until the piano sound returns to normal.
In general, avoid excessive boost because it can cause signal distortion. At this point, you can use the attenuation low frequency instead of the method of boosting the high frequency.
When to use equalization: Before using equalization, you should first change the position of the microphone or microphone to get the desired sound effect. This can achieve a more natural effect than using equalization. Some people even avoid using equilibrium, and they complain that excessive phase shifts or ringing effects are caused by the use of equilibrium, which makes the sound unnatural. In view of this, they use high-quality microphones and carefully placed them to achieve a natural sound balance without equalization. If you still need balance when recording or mixing, what should you do? If you want to mix multiple instruments onto a single track, you can't independently equalize the track when you mix it, unless their frequency distribution is far apart.
For example, a recorded soundtrack contains lead guitars and vocals. If you add a mid-range boost to the guitar, the mid-range of the vocals will also increase. The only solution is to balance the guitar sound only when it is picked up. If each instrument is arranged with its own soundtrack, the usual method is normal recording (without equalization) and then equalization during downmixing. Sometimes some instruments require a lot of equalization to make the sound better. In this case, it is possible to add equalization during recording, and it is necessary to hear that the musician hears the sound better during playback. When multi-track recordings are played back through the monitor console, these multi-track sounds are not necessarily correct unless they are previously equalized. (This assumes that the monitor console is not balanced). In the recording room, rather than in downmixing, using a balanced method to attenuate the low frequency or boost the high frequency will result in a higher signal to noise ratio. The attenuation of the high frequency is used during the downmix to reduce the click of the tape.
Balanced usage - equalization can be applied to the following:
Improve sound quality: This is the main purpose of balance, which makes the sound quality of the instrument better. For example, high-frequency attenuation can be used to reduce the singer's voice, or to directly erase the electric guitar sound to eliminate the edging sound. Increasing 100Hz makes the drum sound fuller, or becomes clearer when the bass guitar sound decays around 250Hz. Attenuating 100 Hz helps to reduce the bass boost caused by the numerous harmony collections. The frequency response and placement of each microphone also affects the sound quality.
Create a sound effect - excessive balance will reduce fidelity, but it will give you an interesting sound effect. A sharp decay of the vocals in the low and high frequency regions results in a sound similar to a telephone. This effect can be achieved with a 1 kHz bandpass filter.
Reduce noise and acoustic coloring - can reduce low frequency noise, such as bass sounding, air conditioning rumble, microphone hum, etc. Just attenuate the low end of the frequency range of the recorded instrument. For example, the violin has a minimum frequency of 200 Hz and can be attenuated by adjusting the equalizer frequency range to 40-60 Hz. Because this attenuation is below the low end of the violin, it does not change the sound quality of the violin. Similarly, the bass drum has a weak or no output above 9 kHz, so it can be filtered to reduce the intrusion of the hum. If the filter equalization process is performed during downmixing, it can also reduce the click of the tape. Filtering out most instruments at frequencies below 100 Hz can reduce the rumble and airflow of air conditioners. It is also possible to attenuate the low-end frequencies of the listening microphones to prevent the bass portion from being confused.
Compensating for the "Fletcher Monzon" effect - this is a phenomenon discovered by Fletcher Monzon: the sensitivity of the human ear to bass and treble at low volume is weaker than at high volume. Therefore, when recording a large volume instrument and playing back at a small volume level, there is a lack of bass and treble. In order to compensate, the low frequency (around 100 Hz) and high frequency (about 4 kHz) must be raised when recording rock music. The bigger the volume of the band, the more you need to improve. In this case, it is also possible to compensate with a heart-shaped microphone with a close-range effect (bass boost) and a strong sense of presence.
The fusion of stretches, if you want to mix two sounds of similar instruments, such as the guitar and synthesizer guitar, it is difficult to tell which guitar is playing. However, as long as the two instruments are balanced differently, they can be clearly distinguished. For example, if the lead guitar is raised at 3 kHz, its sound will be rushed; and for the synthesizer guitar to attenuate at 3 kHz, its sound will be softer. This will result in a more harmonious, clearer mix.
The same applies to the mix between the bass guitar and the bass drum. Because their sounds appear in the same low frequency band, they are easily confused or masked. In order to distinguish, it is not the opposite of thick bass guitar sound and thin bass drum sound. This allows each instrument to have its own area in the spectrum. For example, the bass guitar is in the low range, the synthesizer chord is placed in the middle bass, the lead guitar is placed on the high end edge of the intermediate frequency, and the click is placed on the high end to add color.
The compensation microphone is placed, sometimes to avoid background sound and sound staining, and has to use close-range pickup. However, a close-knit microphone is only close to a part of the instrument, which changes the tone of the instrument, and equalization compensates for changes in the tone. If the microphone is picked up near the sound hole of the original guitar, the sound of the guitar is too heavy due to the strong low frequency of the sound hole, and the low frequency of the sound track can be attenuated on the mixer to restore the original sound balance. This balanced usage remedies the poor sound effects recorded during live concert recordings. Because in the concert, the noisy sound of the stage monitor will enter the recording/sounding microphone, so close-range pickup has to be used to prevent the intrusion and feedback of the monitor sound. The placement of such a close-range microphone, or the intrusion of the monitor sound, can result in unnatural sound. In this case, equalization is the only way to get the available soundtrack. Ability to remix a single track If a track contains two different instrument sounds, change the mix on that track in a balanced manner. Imagine that there are two sounds of bass and synthesizer on a sound track, then the low frequency equalization method can be used to boost or attenuate the bass sound of the bass without affecting the sound of the synthesizer too much.
The farther the frequency range of the two instruments is, the more effective this balanced recording is. Whenever you are recording, be sure to use the right microphone in the right place and record in a room with good acoustics. You don't have to use equalization at this time. Otherwise, using balanced sounds is much better than not using equalization.
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