Talking to AI on Nostr: Please re-write the following text in the form of bulletpoints. Its for a ...
Please re-write the following text in the form of bulletpoints. Its for a presentation for students of audio post production.
Once you’ve got suitable shelving filters on hand, return to that unstable fader and pull it right down. Slowly bring it back up into the mix again until you get to a level where it feels as if some frequency range of that instrument is too prominent in the mix. Take a guess at which half of the frequency spectrum is the culprit (“Is it treble or bass?”), and then load in an appropriate shelving filter to try to get some control over it. (If you’re dealing with a stereo signal, then make sure to insert the processor in such a way that both sides of the stereo file are processed identically; otherwise the ste- reo image may become less solid.) First wiggle the filter’s Gain control around a bit so you can hear what frequen- cies it’s operating on, and then tweak its Frequency knob so that you get some useful handle on the region that’s out of kilter, while at the same time minimizing changes to the rest of the spectrum.
It’s normal for you to lose a certain amount of perspective during the frequently odd-sounding process of finding a good corner frequency for your shelving filter, so once you’ve set it, return the filter’s gain to zero and give your ears 10 seconds or so to reattune them- selves to the actual scale of the original balance problem. When you’re back in the zone, gradually start lowering the filter’s Gain control to pull the over- prominent frequency region down to a more suitable level in the balance. Now turn up your fader a bit more; if that same region pops out of the bal- ance unduly again, then pull back the filter’s Gain control some more. Keep turning the fader up, and the filter Gain control down, either until you achieve a good balance for that track or until some other balance problem becomes more pressing.
If you do achieve a good balance straight away, then you need to make sure you’re being as objective as possible about the decision. You should switch off the EQ now that you’ve finished adjusting it, and once more give your ear a few seconds to acclimatise to what the original balance problem sounded like. Then spend a few seconds trying to imagine what the fixed balance will sound like before switching the EQ back on. What you’ll find surprisingly often is that your ear lost some perspective while you were fiddling with the filter gain, so your balance fix turns out to be lamer than a one-legged Vanilla Ice impersonator. It can be a bit dispiriting, I know, but your mix (and indeed your mixing skills) will progress more quickly if you force yourself to swallow the bitter pill of fine- tuning your EQ decisions properly in this way. Checking the validity of the balance on your different monitoring systems will also increase your objectivity.
Should a great balance remain elusive, then decide whether the shelving filter is actually helping at all. If the filter is improving the balance in some way, then you might as well leave it in place, albeit subject to the same objectiv- ity checks mentioned in the previous paragraph. If the filter isn’t helping you achieve a more stable fader setting, then don’t think twice about abandoning it. Remember that shelving filters go on working all the way to the extremes of the audible spectrum, so listen particularly for any undesirable loss of low-end weight or any snide remarks from the studio bat. Whichever of these outcomes you’re faced with, though, you’ve still got an unstable fader, so you’re going to need further processing to deal with that.
In the event that restraining one protruding frequency region with EQ reveals another different region poking out too far from the mix, then by all means have a go with additional shelving filters to see whether you can solidify the balance further. As long as you concentrate on making sure you’re actually improving the balance, there’s no reason not to have several shelving filters active at once on the same track—the gain changes of each new filter will sim- ply accumulate as you’d expect. Normally, though, there’s a limit to how much you can do with wideband processing like this, in which case the more surgical action of a peaking filter may be required.
Once you’ve got suitable shelving filters on hand, return to that unstable fader and pull it right down. Slowly bring it back up into the mix again until you get to a level where it feels as if some frequency range of that instrument is too prominent in the mix. Take a guess at which half of the frequency spectrum is the culprit (“Is it treble or bass?”), and then load in an appropriate shelving filter to try to get some control over it. (If you’re dealing with a stereo signal, then make sure to insert the processor in such a way that both sides of the stereo file are processed identically; otherwise the ste- reo image may become less solid.) First wiggle the filter’s Gain control around a bit so you can hear what frequen- cies it’s operating on, and then tweak its Frequency knob so that you get some useful handle on the region that’s out of kilter, while at the same time minimizing changes to the rest of the spectrum.
It’s normal for you to lose a certain amount of perspective during the frequently odd-sounding process of finding a good corner frequency for your shelving filter, so once you’ve set it, return the filter’s gain to zero and give your ears 10 seconds or so to reattune them- selves to the actual scale of the original balance problem. When you’re back in the zone, gradually start lowering the filter’s Gain control to pull the over- prominent frequency region down to a more suitable level in the balance. Now turn up your fader a bit more; if that same region pops out of the bal- ance unduly again, then pull back the filter’s Gain control some more. Keep turning the fader up, and the filter Gain control down, either until you achieve a good balance for that track or until some other balance problem becomes more pressing.
If you do achieve a good balance straight away, then you need to make sure you’re being as objective as possible about the decision. You should switch off the EQ now that you’ve finished adjusting it, and once more give your ear a few seconds to acclimatise to what the original balance problem sounded like. Then spend a few seconds trying to imagine what the fixed balance will sound like before switching the EQ back on. What you’ll find surprisingly often is that your ear lost some perspective while you were fiddling with the filter gain, so your balance fix turns out to be lamer than a one-legged Vanilla Ice impersonator. It can be a bit dispiriting, I know, but your mix (and indeed your mixing skills) will progress more quickly if you force yourself to swallow the bitter pill of fine- tuning your EQ decisions properly in this way. Checking the validity of the balance on your different monitoring systems will also increase your objectivity.
Should a great balance remain elusive, then decide whether the shelving filter is actually helping at all. If the filter is improving the balance in some way, then you might as well leave it in place, albeit subject to the same objectiv- ity checks mentioned in the previous paragraph. If the filter isn’t helping you achieve a more stable fader setting, then don’t think twice about abandoning it. Remember that shelving filters go on working all the way to the extremes of the audible spectrum, so listen particularly for any undesirable loss of low-end weight or any snide remarks from the studio bat. Whichever of these outcomes you’re faced with, though, you’ve still got an unstable fader, so you’re going to need further processing to deal with that.
In the event that restraining one protruding frequency region with EQ reveals another different region poking out too far from the mix, then by all means have a go with additional shelving filters to see whether you can solidify the balance further. As long as you concentrate on making sure you’re actually improving the balance, there’s no reason not to have several shelving filters active at once on the same track—the gain changes of each new filter will sim- ply accumulate as you’d expect. Normally, though, there’s a limit to how much you can do with wideband processing like this, in which case the more surgical action of a peaking filter may be required.