quote:

Originally posted by mysticalninja You forgot option 3, Resample the pad so the EQ settings are there when you pitch shift it. Of course that won't sound great if it gets stretched over an octave. In that case i'd multisample the pad with each chord of the pad with on eq settings.. Really all the guy wants to do tho is make his pad less muddy. In which case I recomend hipassing at LEAST at 60hz.. pads dont need 60hz and below..

+1
I think that trying to eq based off what key your in is a good way to drive yourself insane... So I would say a high pass would be a good place to start followed by some shallow cuts and maybe a notch if there's a really bad resonant peak... Thats if he cant just use his ears and/or the inverted notch technique derivative and I both mentioned, I really think that an inverted notch is the best way to deal with these things, but if the problem is over as wide a band as he says, maybe some shallow cuts and a highpass would be better. I don't know...

quote:

Originally posted by Eldritch Why go through all the trouble to find out the frequency of the offending bass note and then EQ it out with a narrow band? You do know that notes change over time, right? Should the EQ be automated then?

If you bothered to read my post you would realise I answered this already. And yes it is an option. Or you could widen the Q of each band to accomodate key changes.

Either way, its the harmonics that interfere with other instruments as these the highest amplitude components of any harmonic sound aside from the fundamental.

You can use that notch technique to locate and EQ out some of the fundamental too. And since thats the lowest pitch reference in a harmonic sound it makes little sense to high pass anything if its fundamental is well above the highpass cutoff frequency.

First of all you need to ask yourself; Where do i want this pad in the mix? How does the mix look like?

A good starting point is the/a High pass filter.

Another good starting point is your ears.

If it's neccesary, use a parametric eq too lower them nasty mid/high's, but often it's not really needed.

Last edited by expanded on Feb-21-2007 at 14:10

quote:

Originally posted by kitphillips +1 I think that trying to eq based off what key your in is a good way to drive yourself insane... So I would say a high pass would be a good place to start followed by some shallow cuts and maybe a notch if there's a really bad resonant peak... Thats if he cant just use his ears and/or the inverted notch technique derivative and I both mentioned, I really think that an inverted notch is the best way to deal with these things, but if the problem is over as wide a band as he says, maybe some shallow cuts and a highpass would be better. I don't know...

Its actually really easy. All the harmonics keep their relation to the fundamental so a key change from A to E means shifting every band up 200 hz or so. You can automate this in your host so you don't even need to do it manually. Some EQs make this easier than others. Voxengo Gliss EQ is fricking easy because it has a spectrum analyser overlayed onto the EQ curve so you can see which peaks you want to diminish. And you only need 1 EQ not a different EQ for every keychange.

The whole process is made even easier by the fact that trance is not harmonically complex and doesn't typically change key very often.

If a high pass filter will do, what happens then if you get pads clashing with frequencies higher up in the spectrum? In the lower mids and upper mids?

As for that inverted notch thing. Its not called that - I jsut forgot the technical name for this type of filter - its a peaking filter!