Glow – How to Make Your Podcast Sound Better with Simple EQ Techniques.

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Eq sweep logic pro x free.Use Match EQ in Logic Pro

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One feature common to all three Vintage equalizers is a Drive control, designed to replicate the small amount of soft saturation the original hardware equalizers would produce. Click on the outside to move in the original stepped increments or use the pot to sweep across the full range.

The Low Gain control works as a shelving equalizer, with a stepped or fully variable frequency control beneath the gain control. Try a 60Hz boost on the drums to reveal the low-end of the kick. One well-loved technique with the original was a combination of deep high-pass filtering at 60Hz combined with a low shelving boost at Hz. The result is a tight, focussed bass-lift that keeps the extreme low-end clean. You can either tame or boost the mid-range using the semi-parametric mid.

In the example with the drums, listen to how a 3. The High Gain is another shelving control, this time set at a fixed position of 12kHz. Adding Drive brings out the soft saturation modelled from the original analogue hardware. You can either add it to your existing EQ curve, or simply use it without any EQ being applied for a subtle touch of extra colour.

Volume Correction The combination of a healthy dose of Drive combined with an additive EQ setting can start to push the output levels of the plug-in. You can adapt some, or all, to your own workflow. You can drag an audio file to the Current or Reference Learn buttons for use as either the current material or template material.

A progress bar appears while Match EQ is analyzing the file. You can also load a previously saved plug-in setting, or you can import the settings of another unsaved Match EQ instance by copying and pasting. Drag an audio file from the Finder to the Reference Learn button, and select the source channel strip as a side chain.

See Work in the plug-in window in Logic Pro. Use Match EQ on the source channel strip and save a setting. Import this setting into the target Match EQ instance.

The filter curve is updated automatically each time a new Reference or Current material spectrum is learned or loaded when the EQ Curve Match button is turned on.

You can alternate between the matched and possibly scaled or manually modified filter curve and a flat response by turning the Match button on or off. In the beginning it can be helpful to say it out loud – put what you’re hearing into words. Make a dB boost with a parametric EQ. Don’t use a wide Q very low values , but don’t use an extremely narrow Q either, as the latter will result in too many false positives.

Begin sweeping back and forth in the approximate frequency area you suspected in step 1. In time you will get better at judging the problem area in advance. Once you find the exact spot where the resonance is most problematic, you can narrow the Q a bit and fine tune the frequency spot. Make sure your Q matches the problem area.

Cut too wide and you will remove too much and change the overall sound. Cut too narrow and you will not remove the problem effectively. Amped rock guitar recording. Resonance in the upper bass area caused by an acoustical problem in the recording room.

Narrow, ringing type problem. Vocal recording. Midrange exaggeration caused by the microphone design leads to a slightly nasal sound.

Wider, non ringing type problem. Electric guitar recording. Sharp, clicky sound in the upper midrange caused by the attack sound in the strings and amplified by the guitar effects. As you can see, it’s rare to use very high Q values. Those are reserved for extreme cases like feedback type problems or errors in the recording.

If you feel you need to cut more than places with parametric EQs you’re being paranoid, or you have a seriously bad recording on your hands rare.

One or two well placed cuts work a lot better than 4 bad cuts. Hey Lagerfeldt, thank you for taking the time to reply so completely.



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