![]() However, linear-phase EQs consume higher CPU usage and create latencies, so they can’t be used during tracking or in large, CPU-intensive mixing sessions. Linear-phase EQs, which are only available in the digital realm, maintain a more natural tonal effect as they do not alter the phase or group delay of a signal. Minimum-phase EQs sound great in most instances, but when applying drastic EQ adjustments or band-pass filters to delicate sounds it’s often recommended to use linear-phase EQ plug-ins. ![]() In fact, all-analog EQs-from your trusty Neve 1073 to your favorite SSL or API channel strip-are minimum phase EQs. Don’t get the wrong idea, there’s nothing wrong with minimum phase EQs. The result of this “phase smear,” as it is sometimes called, can create audible artifacts in your signal, which may be either an interesting color or an unwanted distortion depending on the desired EQ effect. These types of EQs induce a certain level of phase shift and other distortions while applying their tone-shaping function. Traditional analog and digital EQs are referred to as minimum-phase equalizers. Right, Plugin-Alliance’s recreation of the Neve VXS 4-band parametric EQ. Left, Waves’ recreation of the API 55A 3-band, a selectable and proportional-Q EQ. Graphic EQs come in various sizes, including 31-band, 15-band, 10-band, 5-band, and even 3-band. Graphic equalizers are simply a collection of fixed-frequency peak/notch filters that can be used to cut or boost several predefined frequency bands at once. This is why there is a vast selection of EQ options available Graphic Equalizers Each equalizer brand and model is uniquely crafted to add a specific tonal character or clarity that complements a particular musical objective. The sonic characteristics of a filter relate to its circuit components and the steepness of its slope. They’re built into instruments, amplifiers, and equalizers and are used by everyone from musicians to mastering engineers. Notice that each slope crosses 100 Hz at the same level, even with their different slopes.įilters are used in almost every stage of audio processing. This diagram displays three different slopes of 6 dB, 12 dB, and 24 dB per octave. A filter’s corner frequency, referred to as the -3 dB point, indicates the point where the filter has attenuated the level by 3 dB. High-pass filters on microphone channels can remove low-frequency rumble from air conditioning or traffic, or bass that bleeds through the wall from the control room into the vocal booth.įILTER SLOPE. Alternatively, low-pass filters block frequencies above a selected point, allowing the lows to pass through. High-pass filters remove all the frequencies below a selected point, allowing the higher frequencies to pass through. The most common use of filters is for “pass” type filters, which only allow certain frequencies to come through while rejecting everything else. A filter is simply a single band of EQ, which can be stand-alone or part of a multiband EQ. ![]() A filter is any device or circuit that changes the tone, or timbre of an audio signal by amplifying or attenuating a range of frequencies. Filtersįilters are the most basic building blocks of signal processing. This article will break down everything you need to know about filters, graphic EQs, parametric EQs, linear- phase EQs, and dynamic EQs, including their respective roles and possibilities in your audio toolbox. Understanding the different types of equalizers is crucial for any audio engineer, as the equalizer is arguably the most important signal processor in their arsenal.
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