You can approach EQ in a mathematical way if you know what note you are playing at any given time and you know the following:

To calculate relative pitch in frequency you use A4 = 440hz as a standard pitch reference and use this equation:

440hz * 2^(semitone difference/12)

If G4 is 2 semi tones below A4 then:

G4 = 440hz x 2^(-2/12) = 392hz (rounded to 0 decimal places)

Using positive semi tone values above A4 and negative semi tone values beneath A4 you can calculate that:

C4 = 261.62 hz
C#4 = 277.18 hz
D4 = 293.66 hz
D#4 = 311.12 hz
E4 = 329.62 hz
F4 = 349.22 hz
F#4 = 369.99 hz
G4 = 391.99 hz
G#4 = 415.30 hz
A4 = 440hz
A#4 = 466.16 hz
B4 = 493.88 hz

Rounded to 2 decimal places.

Frequency relative to pitch is logarithmic. To find out what the next octave is you simply double all of these values:

C5 = 523.25 hz
C#5 = 554.36 hz
D5 = 587.32 hz
D#5 = 622.25 hz
E5 = 659.25 hz
F5 = 698.45 hz
F#5 = 739.98 hz
G5 = 783.99 hz
G#5 = 830.60 hz
A5 = 880hz
A#5 = 932.32 hz
B5 = 987.76 hz

And you double them again to get the next octave. Below Octave 4 you halve them.

When you have a harmonic instrument you can usually be able to identify its funamental frequency by what note you press. See calculations above. You can then calculate harmonics in relation to the funamental.

A simple saw wave will have all harmonics, both odd and even after the fundamental (2nd, 3rd, 4th, 5th, 6th, 7th, octave, 9th etc) in linearly descending intensity all the way down the scale. A simple square wave will have only odd harmonics (3rd, 5th, 7th, 9th etc) in linearly descending intensity all the way down the scale.

Now when you tune oscillators against each other things get messy because the detuned oscillator will have different periodicity but so long as it somewhat in tune and recognisably so, then it shouldn't matter a whole lot and you should always treat the calculated values above as approximations.

Either way, you know that in a harmonic sound, the loudest components will always be:

1) Its fundamental frequency (i.e. its lowest pitch reference)

2) Its first succession of harmonics.

The easiest way to avoid clashing frequency is to transpose it an octave higher where its fundamental and all harmoncs thereafter will double in relation to everything else. Where this does not sound desirable, you will need to compare a spectrum of the appropriate instrument and what it appears to be offending with.

I use Voxengo GlissEQ because it lets you overlay between 2 and 4 spectrums from different instruments on the one EQ so you can see exactly the harmonics/frequency range thats causing a problem. If the instrument is harmonic you will be able to pinpoint its frequency more accurately using calculations than guessing it on a graph whose x axis is logarithmic. Apply a notch filter to the appropriate frequency range and see what happens.

If its atonal (most drums for instance) then this wont work because they do not have a constant fundamental and have an irregular 'harmonic' structure.

The best help I ever got was when I started collaborating with other people. Seeing how others work really worked better than any tutorial could ever had.

___________________
Latest releases:
Endless Cycles [Capital Heaven]
The Charlatan [Morphosis]

quote:

Originally posted by Mr.Mystery The best help I ever got was when I started collaborating with other people. Seeing how others work really worked better than any tutorial could ever had.

agreed.

pay someone to teach you. most electronic producers don't really make a ton of cash and i'm sure they will help you if you want to learn. The music side is pretty easy to learn about on your on because there are so many books about it.

quote:

Originally posted by Derivative You can approach EQ in a mathematical way if you know what note you are playing at any given time and you know the following: To calculate relative pitch in frequency you use A4 = 440hz as a standard pitch reference and use this equation: 440hz * 2^(semitone difference/12) If G4 is 2 semi tones below A4 then: G4 = 440hz x 2^(-2/12) = 392hz (rounded to 0 decimal places) Using positive semi tone values above A4 and negative semi tone values beneath A4 you can calculate that: C4 = 261.62 hz C#4 = 277.18 hz D4 = 293.66 hz D#4 = 311.12 hz E4 = 329.62 hz F4 = 349.22 hz F#4 = 369.99 hz G4 = 391.99 hz G#4 = 415.30 hz A4 = 440hz A#4 = 466.16 hz B4 = 493.88 hz Rounded to 2 decimal places. Frequency relative to pitch is logarithmic. To find out what the next octave is you simply double all of these values: C5 = 523.25 hz C#5 = 554.36 hz D5 = 587.32 hz D#5 = 622.25 hz E5 = 659.25 hz F5 = 698.45 hz F#5 = 739.98 hz G5 = 783.99 hz G#5 = 830.60 hz A5 = 880hz A#5 = 932.32 hz B5 = 987.76 hz And you double them again to get the next octave. Below Octave 4 you halve them. When you have a harmonic instrument you can usually be able to identify its funamental frequency by what note you press. See calculations above. You can then calculate harmonics in relation to the funamental. A simple saw wave will have all harmonics, both odd and even after the fundamental (2nd, 3rd, 4th, 5th, 6th, 7th, octave, 9th etc) in linearly descending intensity all the way down the scale. A simple square wave will have only odd harmonics (3rd, 5th, 7th, 9th etc) in linearly descending intensity all the way down the scale. Now when you tune oscillators against each other things get messy because the detuned oscillator will have different periodicity but so long as it somewhat in tune and recognisably so, then it shouldn't matter a whole lot and you should always treat the calculated values above as approximations. Either way, you know that in a harmonic sound, the loudest components will always be: 1) Its fundamental frequency (i.e. its lowest pitch reference) 2) Its first succession of harmonics. The easiest way to avoid clashing frequency is to transpose it an octave higher where its fundamental and all harmoncs thereafter will double in relation to everything else. Where this does not sound desirable, you will need to compare a spectrum of the appropriate instrument and what it appears to be offending with. I use Voxengo GlissEQ because it lets you overlay between 2 and 4 spectrums from different instruments on the one EQ so you can see exactly the harmonics/frequency range thats causing a problem. If the instrument is harmonic you will be able to pinpoint its frequency more accurately using calculations than guessing it on a graph whose x axis is logarithmic. Apply a notch filter to the appropriate frequency range and see what happens. If its atonal (most drums for instance) then this wont work because they do not have a constant fundamental and have an irregular 'harmonic' structure.

wow thats alot to understand. I still don't quite get how it relates to how you EQ a sound though. Beacause most times its a melody or chord progression being played so its has various notes. As you can see im probably way off from what your trying to explain.

By "Its fundamental frequency (i.e. its lowest pitch reference)" Do you meen the root note?.

As for now i think im gonna just keep using my ear, I don't want to get confused and caught up in all these mathematics. Thanks though.

quote:

Originally posted by Mr.Mystery The best help I ever got was when I started collaborating with other people. Seeing how others work really worked better than any tutorial could ever had.

I wish it was that easy. Living here in north america , not many people are into EDM as im guessing in Europe, or at least not many of my friends. Any of them that are into dance music dont even produce. So Ive been left to learn everything on my own. But yes working alongs side someone would actually solve most if not all of my problems. Im great at learning when i can see it done in front of me.

also go out and buy

golden ears audio cd pack
and get the waves trance tutorial. That might help ya out a bit.

quote:

Originally posted by lowski I wish it was that easy. Living here in north america , not many people are into EDM as im guessing in Europe, or at least not many of my friends. Any of them that are into dance music dont even produce. So Ive been left to learn everything on my own. But yes working alongs side someone would actually solve most if not all of my problems. Im great at learning when i can see it done in front of me.

That really isn't much of a problem in this day and age. I've never actually seen any of the people I've collaborated with in real life either (well, apart from one), I've just studied their project files.

___________________
Latest releases:
Endless Cycles [Capital Heaven]
The Charlatan [Morphosis]

In the begin, music should be done only an entertainment, if you start since the begin trying to sound like this, that, to reach top tens, etc, you will get frustrated and you will start to produce with anger and frustrated.
Of course it is important to set up goals, even when you are a starter, but, in the begin, music is only fun, and should not frustrate you, is just a game.
I did not care too much in the begin to reach a great quality, etc, I just produced because it was real fun, it's not until you post your music and you start getting reviews of your music, how bad your mix is, structure, etc, when you start to worrie about the quality of your music. I remember when I produced and did not know about forums like this where I could post my music for review, that I enjoyed much more to produce *god bless ignorancy*, because I did not know there were alot of problems with it, I just played with the sounds and felt happy with the crappy tunes that I made, you could say I just used my creative side of the brain when I was a noob, and not much the smart side, later you start to use tooo much the smart side, after some time you will produce with both equally, I think is a common stage for everyone.
I live in Mexico, in a small city where people dont have even a clue about what EDM is, or any other related Electronic kind of music, location has nothing to do with this, only for inspiration, if you have a Pc and internet, the world is yours .
I assume you are pretty young, dont worrie too much about the time, I started producing when I had 23, and met alot of very talented producers with only 15 - 17 as someone else said before, and felt frustrated too, I still, alot!!!

Kopi =o.

___________________
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www.chilloutworld.com
Where the world spins sligthly slower ...

quote:

Originally posted by RichieV also go out and buy golden ears audio cd pack and get the waves trance tutorial. That might help ya out a bit.

I looked at the "Audio Wizard Pro Ear Trainer 1.2". Is that what you are talking about?. Also do you have alink for this "waves trance tutorial"? i googled it but to much stuff came up.

Mr.Mystery. Im the type of person who needs to see things be done otherwise i don't learn as well.


kopi_luwak. Yes music should be fun , it always is but i still fell like i could and should do better then what im doing at the time. I don't really get fustrated i just get anxious to learn and progress, really. Also no im not young I turn 26 this year

i don't think that is it
it is by dave moulton

the waves trance tutorial is released by the company that makes waves vsts