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Dynamic EQ
- Thread starter bdplaid
- Start date
do you mean something like this: How and When to Use Dynamic EQ | Waves
Multiband Compressors vs. Dynamic EQs: Differences and Uses
My initial thought is that using a compressor with a side-chain eq feature would do the trick, at least for one frequency range of dynamic EQ...or use Multiband compression, which is a kissing cousin of DEQ.
What exactly is it that you're trying to solve with DEQ that isn't handled by existing gear?
I think of Dynamic EQ in terms of doing surgical compression to very specific/narrow range of EQ frequencies, while a multiband compressor is applied more broadly to low, mid, and hi frequency spectrum bands.
Multiband Compressors vs. Dynamic EQs: Differences and Uses
My initial thought is that using a compressor with a side-chain eq feature would do the trick, at least for one frequency range of dynamic EQ...or use Multiband compression, which is a kissing cousin of DEQ.
What exactly is it that you're trying to solve with DEQ that isn't handled by existing gear?
I think of Dynamic EQ in terms of doing surgical compression to very specific/narrow range of EQ frequencies, while a multiband compressor is applied more broadly to low, mid, and hi frequency spectrum bands.
An envelope filter is dynamic eq, with the input gain as the variable.
The old exh steel leather did this, but the eq band was fixed. It would up the mids around 800hz or so (I think 800hz is right, but my memory is hardly flawless) when it got over the threshold to get the bass to cut through the mix. Ehx called it a 'bass expander.'
Edit: I thought the steel leather was discontinued, but I appear to be mistaken
Edit: I thought the steel leather was discontinued, but I appear to be mistaken
Last edited:
I'm honestly curious about how dynamic EQ would perform as an effect rather than a studio tool, kind of like an envelope filter, but instead of low or high pass, it would be low or high shelving. Or a mid band, but rather than having a narrow Q to surgically remove or boost frequencies, it would have a wider Q to have a broader effect.
I have in my head that I can dial back the high end, as in using a LPF, fir just normal playing. Then when I play harder it would open up and be flat, allowing the high end through.
Like this: I play lighter and string clack and other high end things are not audible, making the tone something like flats. But when I slap, it's the full frequencies of the bass, full sound of the round wound strings.
Like this: I play lighter and string clack and other high end things are not audible, making the tone something like flats. But when I slap, it's the full frequencies of the bass, full sound of the round wound strings.
Hello. You easily could do this and much more in the modular domain (that is, modular synthesis).
In the eurorack standard there are a number of modules designed to convert external audio and/or control voltage to modular levels and back.
Not a pedal, but a small eurorack case would be like a large pedal with its own power supply.
Also, don't forget notch filters (aka band reject, etc.) and fixed filter banks that feature bands under CV (control voltage). An elegant, powerful example of the latter is the FUMANA by Frap Tools. In its extremes, that gets into vocodor territory.
This sounds like you're describing a low-pass envelope filter, with no resonance, set in a particular way with respect to frequency (800hz or so, and rising as you hit harder) and threshold (depends on how hard you hit the strings).
There are other ways this can be done on more sophisticated multi-fx that have control modifiers, like the HX Stomp and Fractal Audio stuff. I doubt you'd want to go there.
Much higher. My guess is somewhere in the 1.5K-3K region. Upper mids, where the clank lives. 800hz is like the quackier/nasal frequency. (Think of Jaco's bridge growl)
I don't want to spend a million on this. I see it as a convenience rather than a necessity. But I'd like to pursue it to at least some degree.
The envelope filter idea us interesting, as long as the frequency of the filter doesn't morph into the funk mwah and such. Just block st one level, and open for a higher level.
Feel like suggesting a unit?
The envelope filter idea us interesting, as long as the frequency of the filter doesn't morph into the funk mwah and such. Just block st one level, and open for a higher level.
Feel like suggesting a unit?
Aphex has their several varieties of Aural Exciter, Bass Xciter, etc., many of which come in pedal formats.
I use the aforementioned EHX Steel Leather and enjoy it thoroughly.
I use the aforementioned EHX Steel Leather and enjoy it thoroughly.
This is a very interesting idea! A pedal that you set two eq curves that you morph between based on your dynamics. Because it would have the touch sensitive aspect and not just be two channels, I would imagine it would add sort of a vocal quality to your tone.
I've never owned it, but soloed in a shop it sounds like garbage. I expect it works pretty well to find an edge in a full mix, though.
I looked into it and from what I can gather, that's about the only thing it doesn't do.
I've tried a TC Sentry gate, which can be set up as mulitband, but it's problematic to get it to work this way smoothly.
I'm playing with a TC compressor for this, but can't, get my head around how to set up this comp to expand rather than compress.
I'm playing with a TC compressor for this, but can't, get my head around how to set up this comp to expand rather than compress.
