Shape the spec­trum in­tel­li­gently with th­ese pro­gram-de­pen­dent pro­cess­ing tools, and get a su­per-smooth mix as a re­sult

Computer Music - - Contents -

Re­sound teaches the ad­vanced art of dy­namic EQ

The dy­namic EQ is the stealthy hit­man of your mix­ing tool­kit, car­ry­ing out its mis­sions with pin­point pre­ci­sion while per­fectly blend­ing into the sur­round­ings. It can take on many dif­fer­ent roles and knows how to deal with tough sit­u­a­tions!

So what ex­actly is the dif­fer­ence be­tween a dy­namic EQ and a con­ven­tional EQ? You’re prob­a­bly fa­mil­iar with how a con­ven­tional EQ works – set a fil­ter to boost or cut, and it does ex­actly that un­til you tell it to do some­thing else. A dy­namic EQ is set up in a sim­i­lar man­ner, but it has a set amount of free­dom to re­act harder, softer or not at all, de­pend­ing on the pro­gram ma­te­rial. A fil­ter in a dy­namic EQ lis­tens to the in­com­ing au­dio and grad­u­ally be­gins to cut or boost af­ter the gain in the spec­i­fied fre­quency range has reached a set thresh­old.

Dy­namic EQ is of­ten used to fix in­ter­mit­tent prob­lems. The EQ only works when re­quired and leaves things be the rest of the time. De-es­s­ing a vo­cal is a typ­i­cal ex­am­ple; and it’s great for trans­par­ent wide-range tone shap­ing, too. It works with the mu­sic, do­ing its thing while let­ting the mix breathe. It’s also fan­tas­tic for sidechain­ing – you could, for ex­am­ple, set up the midrange of your synths to duck any time the snare hits. This tech­nique al­lows you to set up an elab­o­rate net­work of in­ter­ac­tion be­tween your el­e­ments, cre­at­ing space for parts to sit in.


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