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Manual-

Dynamic EQ

Dynamic EQ

 differs from the forms of compression listed above 

in that it dynamically controls the boost/cut of a parametric 

filter rather than broadband frequency gain. The basic dynamic 

EQ uses a bandpass filter in the side-chain with variable center 

frequency and bandwidth. The side-chain detector is sensitive 

only to the passband frequencies. A parametric filter with match-

ing bandwidth and center frequency is placed in the main signal 

path and the boost/cut of the filter is controlled the same way a 

broadband compressor boosts or cuts broadband gain.

Relative Threshold Dynamic EQ

Relative Threshold Dynamic EQ

 is a special form of dynamic 

EQ where the rms level of the bandpass signal in the side-chain 

is compared to the rms level of the broadband signal. The 

differ-

ence

 between the bandpass and broadband levels is compared to 

the threshold rather than the absolute rms value of the bandpass 

signal. The advantage of this type of dynamic EQ is that the 

relative

 amplitude of a band of frequencies, as compared to the 

broadband level, is maintained regardless of broadband ampli-

tude. The typical topology is shown in Figure 3.

INPUT

OUTPUT

SIDE-CHAIN

ATTACK

GAIN COMPUTER

FILTER

THRESHOLD

RELEASE

SCALE

RATIO

FREQ BW

BANDPASS

BROADBAND

BANDPASS

RMS

DETECTOR

PARAMETRIC EQ

BROADBAND

RMS

DETECTOR

Figure . Relative threshold dynamic EQ block diagram.

De-essers

De-essing limits or controls the sibilant content of speech. 

Sibilance produces a hissing sound. English sibilant speech 

sounds are (s), (sh), (z), or (zh). De-essing is often confused as 

a type of dynamics processor. It’s actually a specific application 

that is accomplished using many different types of dynamics 

processors. And contrary to popular belief, successful de-essing 

is not as simple as placing a bandpass or treble-boost filter in the 

side-chain and calling it done. Frequency Sensitive Compression, 

Split-Band Compression, Dynamic EQ and Relative Threshold 

Dynamic EQ are all used for de-essing.

True de-essing involves comparing the 

relative difference

 

between the troublesome sibilants and the overall broadband 

signal, then setting a threshold based on this difference, there-

fore it is our experience that Relative Threshold Dynamic EQ 

(as described above) is the best dynamics processor for this task 

as it is able to maintain proper sibilant to non-sibilant balance 

regardless of level.

A good de-esser looks at the average level of the broadband 

signal (20 Hz to 20 kHz) and compares it to the average level of 

a bandpass filter in the side-chain. The threshold setting defines 

the 

relative

 threshold, or 

difference

, between broadband and 

bandpass levels, which result in compression of sibilants. Because 

de-essing depends on the ratio of sibilant to broadband signal 

levels, it is not affected by the absolute signal level, allowing the 

de-esser to maintain the correct ratio of broadband to sibilant 

material regardless of signal level, as shown in Figure 4.

-45

0

-42.5

-40

-37.5

-35

-32.5

-30

-27.5

-25

-22.5

-20

-17.5

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-7.5

-5

-2.5

20 

20k 

50 

100 

200 

500 

1k 

2k 

5k 

10k 

Frequency (Hz) 

Increasing Level 

De-essing 

L

e

v

e

l  

d

B

u

Figure 4. The C4’s De-essing performance remains consistent with 

varying input levels.

This means that the de-essing performance is consistent and 

predictable, regardless of how loud or quiet the singer/talker is. 

Taming sibilance when the talker is quiet is just as important as 

when the talker is at a fevered pitch.

Figure 5 shows what happens using a primitive de-esser 

with a side-chain EQ. Sibilance during loud passages is attenu-

ated, but there is no gain reduction during quiet passages, even 

though there may still be a significant amount of “sss” in the 

person’s voice. For a given threshold, this often results in an 

overly aggressive effect during the loud choruses, and a com-

pletely ineffective result during the hissy, whispered verses.

20

20k

50

100

200

500

1k

2k

5k

10k

-45

0

-42.5

-40

-37.5

-35

-32.5

-30

-27.5

-25

-22.5

-20

-17.5

-15

-12.5

-10

-7.5

-5

-2.5

Frequency (Hz)

L

e

v

e

l  

d

B

u

Increasing Level

De-essing

No De-essing

Figure 5. Primitive de-esser with a simple side-chain. 

Varying input levels adversely affects de-essing.

Содержание C4

Страница 1: ...or taking the time to read this Quick Start We now return you to your regularly scheduled sound check or recording session OPERATORS MANUAL 0 0 6 3 12 24 dB 20 10 0 40 30 20 10 20 10 0 40 30 22 10 ms...

Страница 2: ...the signal and the side chain The signal path is the route the main signal takes through the unit from the input circuits to the gain control section and exits through the output circuits The signal c...

Страница 3: ...sed for de essing True de essing involves comparing the relative difference between the troublesome sibilants and the overall broadband signal then setting a threshold based on this difference there f...

Страница 4: ...s is very common to switch between a rhythm tone and a lead tone Of ten the musician sets the lead tone brighter than the rhythm tone so it cuts through better The problem comes when the sound system...

Страница 5: ...the original full volume input signal we need to limit perhaps the unfortunate blast of noise when the vocalist inadvertently unplugs the phantom powered mic The bottom line shows the limited output...

Страница 6: ...r is doing at all times Side chain Level Display In Compressor mode the floating meter displays the side chain level relative to the Threshold dBr making it easy to gauge how close the signal is to th...

Страница 7: ...nnels are linked the Master channel Limit Threshold setting determines the maximum output level for both chan nels However the greater of the two peak detected signals is used to control the gain of b...

Страница 8: ...increase as less gain reduction is required and is adjustable from 25 ms fast to 2 seconds slow It is important to understand the difference between release rate as determined by this control and rele...

Страница 9: ...toggle the side chain out of Listen mode as if you meant to have it engaged for the first six songs The Side chain PEQ filter operates in one of two ways depend ing on whether the channel is operating...

Страница 10: ...uggested settings in Table 1 then season to taste by adjusting the Threshold until your ears tell you it s just right Vocals A tough issue with vocals is the extreme dynamic range of some singers Thos...

Страница 11: ...and Gabor Szabo are two musicians who use sustain to great acclaim although they did it the old fashioned way of cre ating feedback by aiming the guitar pick ups at the loudspeaker and then jamming o...

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