Technology Institute for music educators ti: me course 2a Advanced Sequencing, Second Edition
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- Instrument Magic Frequencies
: Series Configuration of Track Inserts
Signal Processing Signal processors are audio devices that change some characteristic of an audio signal. There are four primary categories of signal processing devices—spectrum, dynamic, time and noise processors. Spectral Processors Spectral processors are used to change the frequency response or tone color of an audio signal. They can be used to make the signal from a track sound “better” or more often, help the signal “fit” in a mix. The two main spectral processors are parametric equalizers and filters. Parametric EQs: Parametric EQs feature adjustable “bands” that can be used to boost or cut a range of frequencies. Typical devices have from three to ten frequency bands that are generically labeled “Lows, Low Mids, Mids, High Mids, etc.” Each band of a parametric EQ typically has the following adjustable patterns. Center frequency: Sets the center frequency of a frequency range (band) Q/Contour: Set the width of the frequency range around the selected center frequency. In some cases the Q is fixed and not adjustable, most often in the low or high frequency bands. Boost/cut: Sets the amount of boost or reduction to applied to the given frequency range Using a parametric EQ device can be a bit intimidating at first, so some general guidelines would include the following: Select a frequency band that matches the general frequency area that needs adjustment. In order to locate the specific area that needs work, set a significant amount of boost; try around 10 dB to start. Next, while listening to the track, sweep the center frequency parameter up and down until the frequency related problem(s) “sticks out.” Decide if you need to boost or cut the selected range. Finally, open and close the Q setting to determine (then set) the width of the frequency range. Determining the frequencies that need to be adjusted can also be intimidating at first, so this is a good time to briefly review tone color (timbre). All acoustic instruments produce complex waveforms, consisting of multiple frequencies. The pitch that we perceive is, most often, the lowest (and loudest) of those frequencies and is referred to as the “fundamental” frequency. The other frequencies that are produced are (usually) integer multiples of the fundamental frequency and are referred to as “harmonics.” We perceive different instruments as having unique timbral qualities because different instruments produce harmonics in differing proportions and intensities. This is due to many factors—the materials used in the manufacture of an instrument, chambers or columns of differing lengths, single coil or humbucking pickups, differing mouthpieces, etc. When we EQ an instrument, knowledge of its timbral characteristics needs to be linked to the frequency areas in which its strengths and weaknesses lie. Audio engineers often refer to these areas as the “magic frequencies.” Example: Timbral character of selected instruments (mostly taken from The Mixing Engineers Handbook by Bobby Owinski).
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