Edelweiss EQ1-DYN manual Dynamic, Correcting musical instrument volume imbalances, De-Essing

OPERATING INSTRUCTIONS FOR GAMBIT EQUALIZER EQ1-DYN OPERATION

Dynamic

If a dynamic peaking-filter has been selected, pressing the “dynamic” key will toggle the Q- controller of the peaking band between Q- and Threshold-adjustment (this can also be seen in the band display, where either the Q or the threshold value is shown).

How to set a dynamic band

A good way to start off is by taking some material, and setting the EQ1-DYN so as to correct or pronounce all the bands which you feel need processing. Do the adjustments in normal peaking mode, not in dynamic peaking mode. Set every- thing so you get the feeling that this improves the “sound” of the material.

Now take any band and set it to dynamic peaking mode by pressing key B. Adjust the threshold of the band until you see movement in the frequency response window of the EQ1-DYN (the thresh- old setting is important for the function of the dynamic EQ, very much like for a compressor). This is a good starting point for experiments!

We give two examples for dynamic band usage:

Correcting musical instrument volume imbalances

EQing is the process of changing the spectral balance of any audio programme. By EQing, we wish to, for example, attenuate or boost a certain instrument within a complex piece of music.

It is clear from our hearing experiences that most instruments overlap in their frequency ranges, so trying to affect one certain instrument by EQ without affecting others is usually impossible. This especially becomes a problem if two instruments in the same band are not in volume balance, i.e. one is too loud and masks the other.

One remedy for this is to apply either some boost or cut EQ in that band (either boost the soft in- strument or attenuate the loud one). Except that this process affects both instruments. However, when using dynamic EQ, the boost is only applied if the loud instrument pauses. On the other hand, one can apply some dynamic attenuation when- ever the loud instrument plays. The dynamic filter

will adjust itself to correct volume imbalances between the two instruments.

De-Essing

“Ess”-sounds usually occur on, but are not limited to, recordings with human vocals. They are the product of over-compression (common on TV or radio recordings), or similar effects, like satura- tion of magnetic mediums.

These sounds are characterised by an exagger- ated hiss or “s”-pronunciation (hence the name). They are mostly concentrated in the band be- tween 1kHz - 10kHz.. Just applying attenuation by EQ in this band will render the recording dull and muffled. High frequency content is very important for hearing enjoyment, so simply attenuating will reduce programme quality. By applying dynamic cut EQ, the “ess”-sounds can be reduced, without affecting low-level high-frequency content, im- proving the quality.

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