volume increase when applying low cut?

On 2013-12-15 15:41, daark wrote:
your meter is lying
you need to check what those metter stand for
left peak and right peak, not the sum
check out the sum

On 2013-12-24 16:11, frisbeehead wrote:
I think the sub rumble can eat up a lot of headroom, it really steals the potential for loudness in a mix and even on a track. so maximum peak level will actually increase once you get rid of it?

On 2013-12-15 03:11, Bipolar wrote:
One day I got a really cool way to see EQ, a really good producer that I know, told me that eqing was like a balloon full with water, if you press one side of the balloon, the other side will rise a little, If press the balloon in the middle, both sides are going to rise a little, and when you apply eq to a sound, the same effect tends to happen. When you make a low cut, or a high pass, some frequencies in the middle and high range will rise a little, that same principle can be use in some eqing methods, instead of adding more frequencies in the low end of your bass for example, try to cut some high freq, and the low freq, will rise a little that will help your low frequencies settle better

On 2013-12-25 17:26, daark wrote:

Quote:

On 2013-12-24 16:11, frisbeehead wrote: I think the sub rumble can eat up a lot of headroom, it really steals the potential for loudness in a mix and even on a track. so maximum peak level will actually increase once you get rid of it?

If the peak increases that gives you less headroom . no ?

On 2013-12-25 20:19, Hypereal wrote:

Quote:

On 2013-12-15 03:11, Bipolar wrote: One day I got a really cool way to see EQ, a really good producer that I know, told me that eqing was like a balloon full with water, if you press one side of the balloon, the other side will rise a little, If press the balloon in the middle, both sides are going to rise a little, and when you apply eq to a sound, the same effect tends to happen. When you make a low cut, or a high pass, some frequencies in the middle and high range will rise a little, that same principle can be use in some eqing methods, instead of adding more frequencies in the low end of your bass for example, try to cut some high freq, and the low freq, will rise a little that will help your low frequencies settle better

This

On 2013-12-26 03:31, frisbeehead wrote:

Quote:

On 2013-12-25 20:19, Hypereal wrote: Quote: On 2013-12-15 03:11, Bipolar wrote: One day I got a really cool way to see EQ, a really good producer that I know, told me that eqing was like a balloon full with water, if you press one side of the balloon, the other side will rise a little, If press the balloon in the middle, both sides are going to rise a little, and when you apply eq to a sound, the same effect tends to happen. When you make a low cut, or a high pass, some frequencies in the middle and high range will rise a little, that same principle can be use in some eqing methods, instead of adding more frequencies in the low end of your bass for example, try to cut some high freq, and the low freq, will rise a little that will help your low frequencies settle better This

I think this is a good metaphor, but it suits passive EQ the most. that's pretty much how it works: if you raise a frequency, under the hood, a passive EQ is just lowering every other band to produce the effect of boosting the choosen frequency. subtractive EQ on a regular EQ is kind of similar, your focus is on bringing frequencies down so you only keep what you like in the end (sort off). that coupled with good dynamics and proper gain structure is a win win.

On 2013-12-26 12:47, xoC wrote:


And Imho, if you need an EQ (be it filters or bells) or a compressor to make a correct bassline, that just mean your patch isn't tweaked right.

I don't mean you cannot use them, but without processing, your bassline should be at least 95% right.

That's not the way passive EQ works. usually, they will in all case subtract like 20 dB to the signal, and when you want to boost somewhere, they will subtract less at that frequency. And then, you have after that whatever make-up gain the designer wanted (like tube gain, solid state gain, or nothing and you should add a preamp after).