![]() ![]() The faster the signal, the less time the capacitor has to charge, and the more the capacitor naturally stops signal from coming through. ![]() With lower frequencies, the capacitor has time to react by charging up and allows the signal to pass. Lower frequency signals stay pushing current in the same direction for a longer period of time. When it’s charged it acts like it’s just part of the wire it’s attached to (this is an oversimplification so don’t nerd-rage on me). When it’s uncharged it acts as a barricade that blocks signal. The basic idea is that a capacitor requires time to charge up. I’ll go lightly because honestly, for most purposes, it’s not really important to dig in like that. I explain slopes and gradients in detail and show you how to match the filter’s slope to the response/shape of the audio being processed.In the hierarchy of mixing tools, I place level at the top, panning second and EQ third - making it, in my mind, one of the most important aspects of mixing to master.īefore explaining how I conceptualize and utilize EQ to make great mixes, I’m going to head into some technical stuff. I show you the industry techniques we use to clean any piece of audio. In the Band Pass Equalisation – cleaning audio channels video, I explain what a band-pass filter is, how it works and how best to use it for cleaning audio channels. If a 24dB/octave slope is too drastic on vocals then back off and select a smoother slope, maybe 12dB/octave. Again, this comes down to taste and subjectivity but there does come a time whereby the integrity of the signal will suffer and this is usually the time to back off. This makes for a much smoother and accurate cut.Ī drastic slope can be unnatural when filtering vocals whereas a smooth slope can help to get the vocals to sit more naturally in the mix. This then allows me to shape and match the eq slope to the response of the sound. ![]() I always extend an eq’s display to show a much broader range as this will invariably cover all the slopes. They can be designed with varying degrees of steepness expressed in dBs/octave where the more dBs, per octave, the steeper the filter. When cleaning, the slope of the eq/filter is as important as to where you set your cut-off. It takes time for the filter to attenuate frequencies, in proportion to the distance from the cut-off point. In the case of the shelving filter, the most common slope is 6 dB gain change per octave (doubling of the frequency). The way, and by how much, they get there is called the gradient or slope. A high value for Q corresponds to a very narrow filter, whereas a low value of Q corresponds to a wide filter.įilters do not have a no-effect at a frequency and then instantly jump and suddenly reappear at the next frequency. The width of a peaking filter is defined by its Q value, where Q is the filter frequency divided by the width in Hertz of the band the filter affects. In other words, it is the range of frequencies allowed to pass through the equaliser. Once I have the two filters in place I start to move them around until I have cut all the frequencies not needed.īandwidth, in this context, is a simple measurement: it is the width of the frequency range selected. The cool thing about this filter is that you can eliminate the lower and higher frequencies and be left with a band of frequencies that you can then process without the worry of redundant frequencies creeping up on you and summing gains and tripping compressors.Ī filter that adjusts the levels of frequencies between a pair of values is known as a peaking filter It is, in effect, a low-pass and a hi-pass together. A filter that passes frequencies between two limits is known as a band-pass filter.Ī band-pass filter attenuates frequencies below and above the cut-off and leaves the frequencies at the cut-off.
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