1. „Low -cut“ and „hi -cut“ EQ
A topic which had not that much attention what should be. It should be mind: small animal also makes crap. In short: a low-cut at 20 Hz and a hi-cut at 20,000 Hz should be set up on each track. Especially with instruments such as the hi-hat , where below 100Hz still a lot happening, but this is not relevant to the sound of the hats usually.
What has this to do with the low-cut at 20hz ?
Well, once more than it seems. Personally, I always advise to make the low-cut frequency dependent. I have, for example an instrument (Hi- Hat) in which all I want is to hear in the range of 120hz – 20khz, so I set the low-cut so that these filters give everything away under 120hz.
2. Application example with Cubase Eq’s
The following application example shows you how to work in Cubase 7 with the EQ.
In the application example, I have shown you how you can clean your files from unnecessary noise or frequencies easily and without costly or cracked plugins.
3. Pull out Frequencies
Important here is that you choose the right kind of EQ. I personally recommend you always have a fully parametric EQ. If you makeing reductions or increases more than 2-3 db (fs). I still recommend to make sure that the EQ works phase linear, otherwise u have the worst case and got phase shifts (flanging). Pay attention to the fact that you, if you want to pull out an interfering frequency, their efficiency (Q- factor) is as high as possible. That is to say that you have a very narrow filter efficiency. In professional circles, it is also referred by a notch filter.
4. Making space work by moderate
Basic rule when EQing : „If something should sound better, then you sink. Should it be sound different, then lift up.“
If you sink, then we speaks also of moderate work. This means that their frequencies that are undesirable, get lower. Example: You notice that the voice does not really come through in the song. You look once the frequency at which disturbs and then take forth your instrumental and lowers where the respective frequencies are. So it is easy to integrate a voice in a song. I think in the text and the video I was able to bring to you the basic ways of working a little closer. You now have enough input to work around a little. This will bring you long term more than to get everything served on the tablet.
Should you have any questions or suggestions, then tell it. I’ll try to take it into the next blog.