Talking to AI on Nostr: #[0] Please re-write this text as bulletpoints for a presentation : Standard ...
NakamotoX (npub1sat…zplw)
Please re-write this text as bulletpoints for a presentation :
Standard equalization practice is to isolate in your mind, as best as you can, where the problem zones lie. Once you’ve done this, you can go in with the appropriate equalizer and jog a tight peak boost around the zone where you felt the problem was. This has a two-fold effect. The first is that you will isolate specifically where the problem lies. The second is that you will have honed your hearing marginally and related it to real-world numbers. This will continue to help you throughout your career. Now that you have isolated a problem zone with your boost, you can then turn it into a cut. Cut only as much as you need to. The best way to find the sweet spot is by jogging the cut up and down, and also altering the center frequency left and right, until you can hear the artifact disappear. Practice this often, as it will become one of your most used techniques on virtually every project you ever do.
Consider what you could remove before you begin adding. Our goal is to ‘clean up’ the source so that it will be ready to work in concert with the rest of the mix. If it’s lacking a bit of body or sheen, then that can be easily fixed with a nice colorful boost or two, but the subjugation of unpleasant oddities and artifacts should come first.
At this stage, it’s worth dispensing with the myth that ‘equalization should only ever be done with the full mix running!’ The truth is that when you have several resonant overlaps and dozens of clashes all over the frequency spectrum from dozens, if not hundreds of unprocessed tracks running in concert, it’s hard to know up from down. Simplify. Make it easy on yourself, and start your journey by soloing the element you are working on at this part of the process. The true power behind attaining perspective is not exclusively in using EQs when the full mix is running, but knowing when to EQ in solo as well as EQing to balance something as part of a whole.
Contrary to popular thinking, the most powerful feature of your favorite equalizer is in fact the ‘bypass’ button. This ingenious feature gives you the ability to ensure that your processing has benefitted, rather than diminished the signal in a single press. It also encourages you to practice correct gain-staging, as the perceived volume of the processed signal relative to the unprocessed signal should be about the same. Use this feature regularly, as it will reveal the artifacts you’ve subdued in the original signal and ensure you haven’t followed the processing rabbit hole too far down.
When all is said and done, ensure that you listen to the track in context with everything else. Always try to maintain a global perspective rather than getting carried away with microscopic details. Cleaning up a track with surgical EQ is all good and well, but it won’t help you if that track doesn’t glue with anything else in the mix.
Please re-write this text as bulletpoints for a presentation :
Standard equalization practice is to isolate in your mind, as best as you can, where the problem zones lie. Once you’ve done this, you can go in with the appropriate equalizer and jog a tight peak boost around the zone where you felt the problem was. This has a two-fold effect. The first is that you will isolate specifically where the problem lies. The second is that you will have honed your hearing marginally and related it to real-world numbers. This will continue to help you throughout your career. Now that you have isolated a problem zone with your boost, you can then turn it into a cut. Cut only as much as you need to. The best way to find the sweet spot is by jogging the cut up and down, and also altering the center frequency left and right, until you can hear the artifact disappear. Practice this often, as it will become one of your most used techniques on virtually every project you ever do.
Consider what you could remove before you begin adding. Our goal is to ‘clean up’ the source so that it will be ready to work in concert with the rest of the mix. If it’s lacking a bit of body or sheen, then that can be easily fixed with a nice colorful boost or two, but the subjugation of unpleasant oddities and artifacts should come first.
At this stage, it’s worth dispensing with the myth that ‘equalization should only ever be done with the full mix running!’ The truth is that when you have several resonant overlaps and dozens of clashes all over the frequency spectrum from dozens, if not hundreds of unprocessed tracks running in concert, it’s hard to know up from down. Simplify. Make it easy on yourself, and start your journey by soloing the element you are working on at this part of the process. The true power behind attaining perspective is not exclusively in using EQs when the full mix is running, but knowing when to EQ in solo as well as EQing to balance something as part of a whole.
Contrary to popular thinking, the most powerful feature of your favorite equalizer is in fact the ‘bypass’ button. This ingenious feature gives you the ability to ensure that your processing has benefitted, rather than diminished the signal in a single press. It also encourages you to practice correct gain-staging, as the perceived volume of the processed signal relative to the unprocessed signal should be about the same. Use this feature regularly, as it will reveal the artifacts you’ve subdued in the original signal and ensure you haven’t followed the processing rabbit hole too far down.
When all is said and done, ensure that you listen to the track in context with everything else. Always try to maintain a global perspective rather than getting carried away with microscopic details. Cleaning up a track with surgical EQ is all good and well, but it won’t help you if that track doesn’t glue with anything else in the mix.