So I am finishing mixing and at the very last stage, I try to EQ-match with Pro-q3 within 3db range to smooth out the harshness of my touch.
My question here is, would it be the best to render it with Linear phase mode on Max 'if' I am doing it on several stems?
So I am doing this subtle Eqmatching on Key stem, Lead Vox stem etc. I wonder if any Pro-Q3 users are kind enough to give me some advice. I still do want the best rendering quality :)
Natural Phase or Linear Phase (max)..?
Thanks in advance!
I mostly render with natural phase on tracks such as kick or any single source but this time I am doing first eq matching and just wondered :)
When using Q3, using the linear phase version seems to feel a fade-in delay (especially in the case of kicks).
It doesn't matter? Is this a problem?
Which do you prefer, a non-latency version or a linear phase version?
Just watched this video, which finally showed clearly the effects of phase while EQing. I figured out some of you might be interested, it really is worth watching imo. Thank to the creator !
https://youtu.be/efKabAQQsPQ
- What's the optimal TYPE of EQ for "corrective" curves?
For years, I took SonarWorks' word for it that linear phase was best despite the softness I heard. I'm interested in accuracy and translation in the mastering chain rather than personal preference, so "do whatever sounds best" doesn't necessarily apply. I'm also looking for consistency as I switch between my various headphones and studio monitors. I've read conflicting opinions on linear phase vs minimum phase specifically in regards to headphone calibration lately, though, so revisiting the topic.
If it is true that linear phase works better for higher Q values and most frequencies, but is problematic on low frequencies, then might it make more sense to use two separate eq's with a linear phase EQ on freq's above 300hz or so and a zero latency EQ lower?
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Am I correct that any digital zero phase EQ should be equivalent to any other? (Fabfilter vs Logic, etc should null so long as it's not an intentionally "colored" EQ) Since linear phase EQ's sometimes have quality controls, is it safe to assume that two different linear phase EQ's do NOT necessarily null? Is there any particular reason I should use on EQ plug over another for this?
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I can't help but notice that when I use a parallel eq like Nova, the boosts / cuts don't have the same impact as on a typical (serial?) EQ. I LIKE the sound of Nova... it just doesn't tend to translate to the same settings on another EQ. So... am I correct in assuming that the settings listed cannot be used on a parallel EQ to achieve the same effect since the same settings do not ultimately achieve the same curve?
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Q factor: As a general rule when mixing, I avoid steep filters and high Q values unless I'm looking for resonance. In fact, unless I absolutely need to, I generally avoid Q values above 0.7 or so.
I see that some of the oratory1990 curves have some higher Q settings (I'm looking at a Q of 3 in the hd650 chart currently). Am I being too cautious here? Do others avoid higher Q settings in corrective curves? Is this less of an issue due to use of linear phase?
I see some engineers recommending the use of Linear Phase EQ in the mastering process, but these same engineers use analog EQ emulations, which alter the phase by nature. Are there any situations where the phase change will cause issues?
I've been having this issue for a long time, and I have a general gist of the reason but some parts of this just completely stump me and I need someone to explain this to me.
My typical setup for tracks is to have a mixer track set up for sidechain, where I route anything I wish to be sidechained into that track. On there I have an instance of Duck (which is a volume ducking plugin by devious machines similar to VolumeShaper, Kickstart, LFO Tool, etc.). I then trigger the ducking with a MIDI Out.
This approach works fine, except for when I'm using plugins that have a large latency. One example of this is soothe 2 which says to have around a 44ms delay but also happens with other plugins like Fruity Parametric EQ 2 in Linear Phase mode. When this happens, the sidechain tends to trigger very early. The other song elements are still in sync with the track with the high latency plugin, just the ducking that's off.
The thing that I find really weird about this all is that this issue still persists even if I export everything to audio.
Can anyone explain why this is happening? Is this something with FL Studio or the plugin I'm using for sidechain? What can I do to fix this issue? (besides moving the MIDI trigger later to manually compensate which I have done before but I don't like having to do).
I've been working on a track with a drum part that was recorded with kick, snare and two overhead mics. I decided to duplicate the overhead mics and process them differently just for the toms and I noticed some unpleasant phasing between the tom tracks (overhead mics with no processing) and the overhead mics (with some EQ added on Pro Q 3 in Zero Latency mode).
I changed the instance of Pro Q 3 on the overheads to Linear Phase - Medium and the phasing disappeared but only when I started playback at a point where both the tom tracks and the overhead tracks had audio information in them (I wanted to trim the tom tracks to only tom hits and remove all other audio). If I started playback at a point where the tom tracks did NOT have audio information in them then the unpleasant phasing would be back when playback reached a point where there was simultaneous audio.
Can anyone explain this behaviour? Does Pro Q 3 detect whether there is multiple instances of the same audio file and adjust its behaviour accordingly? It would be nice if I could understand how to get around this so I can ensure that this nasty phasing in the overheads isn't there when I actually come to render the track.
I've seen some vids on youtube on this topic but all of them were unclear. Can someone dumb it down for me. Thanks.
I have the bass soul food & I'm pretty happy with it. It glues the mids on my guitars & basses BUT it's harmonic distortion, which is great for that sound but I'm looking for the sheen I get from a blues driver (Asymmetrical hard clipping) BUT with blend knob.
Any ideas?
PS: I'd love to hear suggestions for cheap overdrive blend pedals in general cuz I wanna test some stuff ;D
Thanks!
Hi, I have used EQs for a long time and then first today I heard about using linear phase EQ. I use so many EQs but how do I know if it is "linear phase" and what does it mean? I have been looking at youtube but I need this explained to me in simple language!
So I've been watching a lot of Au5 recently and he talks about creating the perfect plucks by using a linear phase saw as seen here youtube.com/watch?v=aalmnBvznRU&t=1167s at 101.38.
Now I've tried doing what he said (lowpassing a resonant saw over time) however my results are never the same, I've tried 16 voices of unison with and without phase and I've tried with no unison the closest I got was a sineyish looking shape but it didn't collpase in nicely like this and there was definitely no phase symmetry.
If anyone knows how to do this can you please comment below the filter type, unison voices and amount of resonance etc you would have to use?
If anyone has any idea please comment below it would be much appreciated!
So I know what all of these do, in theory they all reduce the artifacts (however minor) and phasing they might inadvertently cause, while also introducing additional delay and cpu processing.
I was wondering if any of you go through your project before bouncing stems/final master and change all of these to their 'maximum quality' level? Specifically fab filter pro-q, it'd make sense to set all instances to linear phase once you're done mixing and don't have to worry about the delay they might cause right?
Let me know if I'm missing something here otherwise I'll probably just start doing it all the time lol
Hey everyone,
I took my bass buss and exported it with linear phase, med resolution, 12 db low cut vs zero latency to see what the waveforms would look like.
It is clear that they look different after 500 hz and they look a bit different between 20hz-60hz.
Without hearing it, what would these images tell you guys? When I listen to both, it sounds like linear is a bit more full and thick. Is this possible? I guess my question is, do I just trust my ears to see what is better? additionally, is this exercise useless without listening to it within its entirety?
Spectrum Photo
https://www.dropbox.com/s/lkzhjt54y3xigkb/linear%20vs%20zero.jpg?dl=0
Bass Buss - Zero Latency
https://www.dropbox.com/s/g34xz6l9xi22fu8/bass%20zero%20latency.wav?dl=0
Bass Buss - Linear Phase
Fox Stevenson recently had a livestream where he called out how bad OTT fucks with the phase, and I am in the camp that thinks the default Ableton OTT (and Xfer version especially) sounds awful and harsh.
I've used a modified OTT preset for both Ableton and Xfer's version that doesn't hype the high frequencies as much as the default OTT. But that doesn't solve the phase issues.
So today I thought it'd be fun to make a Single-Band OTT, and a Linear-Phase OTT, using Ableton's Compressor.
Here they are: https://www.dropbox.com/s/c64sxxnwrjgug6u/OTT%20Bundle.zip?dl=0 (as well as my less-ugly default Xfer OTT preset)
Ableton Multiband Compressor, when only one band is enabled, still messes with the phase of your signal. That's why I made a single-band version using Compressor.
I also added a couple "Hype" knobs to the rack if you want some of that high-freq boost.
You'll find that the attack, release, etc settings for these racks are different than Ableton's OTT preset. That's because, at matched settings, Compressor doesn't have nearly the same effect/result as OTT. So rather than trying to create a settings-accurate version, I wanted to make sure it emulated the SOUND of OTT.
Personally I like the sound of the Single-Band version with a little Hype the best. Enjoy!
In my Discrete class, we are currently going over filter design. With that, we've been talking about determining whether or not a filter has linear phase. To determine if the filter has linear phase, we check to see if the impulse response is symmetric or anti-symmetric. I get all of that, but how do I actually go about determining if the impulse response is symmetric or anti-symmetric? We learned in class that the impulse response is symmetric if h[k]=h[N-1-k] and it is anti-symmetric if h[k]=-[N-1-k]. Here are a couple of examples from class: H1(Z)=1-2Z^-1+2Z^-2+Z^-3 and H2(Z)=1+2Z^-1+2Z^-2. I know that H1(Z) is anti-symmetric and H2(Z) has no symmetry. My issue is how do i apply the stated symmetry equations to my system?
Thanks!!
Hello everyone,
I'm just another 27 year old dude, discovering the world of audio, mixing, engineering. I recently (not so long ago) about a year back, started electronic music producing as a hobby. I have been listening to various edm genres for my whole life and i'm quiet sad that i made the decision to pursue it, as a hobby just now when i'm close to getting 30. I wish i started earlier, very much so.. At the start, i think we all get some sort of hype, playing with your first soft synth or synths for that matter, add some nice drum loop you downloaded from splice, or any other sample pack.. and really felt like, damn.. it's actually quiet easy.. like, i'm really doing it - producing music. I can show it off to my friends, family, a wife... yea, for me it quiet was like that, first 6-8 months. Then something happened, i wanted to really "go pro" be really good at it, design everything by myself, understand every single plugin i use and decision i make.. and then it hit me, how difficult it actually is.. and its really expensive as well. For example, i produce, or at least.. try to produce psytrance, i just love it and for last 6 months, all ive been doing is synthesize my own kickdrums, my own basslines from scratch, i want them to be clean, awesome have a nice character to it and be different, i want to make it my own. My wife has been telling me that i don't make any progress, she haven't heard anything new from me, all i do is kick-bass-bass-bass, kick-bass-bass-bass and to her its silly and boring.
I have many, many questions, but i decided to take it step by step and start with linear EQ, which i'm trying to understand and work around it. Sorry for so long text, i just felt like writing a little bit more of myself will contribute to longer answers and understanding, and don't get just replies and answers like "just do this and do that", without really getting deep knowledge of something.
Using a linear EQ lowcut sounds often great, it cleans left side of the spectrum up, gives more headroom and energy for the rest and doesn't affect your so carefully carved phase and the character of the sound, but it introduces pre-ringing. Its subtle, you probably wont even hear it if you don't pay close attention, but its there and its annoying. I have seen tutorials and discussion on the internet about it, youtuber named dash glitch told that he has been cutting the pre-ringing ramp and started the sample that way, or using full minimum settings. So.. i trie
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