MINDPRINT DTC Spezifikationen PDF herunterladen (Seite 11)

MindPrint-DTC

ENGLISH

Diagrams 1 and 2 are plots of the shelving EQ curve at

different Q-factor settings.

At low Q-factor values, the plots appear similar to that of

most equalizers. The boost or cut occurs very gradually from

the point of the selected frequency. At high Q-factor values,

the plot follows a steeper course, but with the twist that,

right before the actual boost or cut, the curve takes a detour

in the opposite direction, a pattern familiar from the

legendary Pultec EQs. The resulting sound achieved in the

low frequency range has warmth and punch with no hint of

muddiness, and in the high-frequency range it has brilliance

and transparency with no sense of edginess or harshness.

These qualities open up many new possibilities for

sound-shaping, particularly in mastering.

Practical example: Try this. Connect a vocal microphone,

activate the HF band alone, set the frequency to around 10

kHz, the Q-factor to 0.15, and the Level to 0. Now boost the

highs by +15 dB. As would be expected, the highs are now a

bit excessive for most people’s taste. Now slowly turn the

Q-Factor control clockwise. By the time you reach a Q-factor

of 1, the difference in the sound will be quite audible. The

center frequency will appear to have moved higher, and the

frequencies below this region will seem less pronounced.

Now turn the Q-Factor control clockwise all the way to 3.

Then use the Frequency control to move the frequency

higher or lower to taste, possibly reducing the amount of

boost somewhat. You will quickly find the point at which

your voice takes on a pleasant sheen and clarity without

overemphasizing the sibilants. Ordinarily to achieve this result

you would need to use two overlapping EQ bands and spend

quite some time making delicate adjustments.

You would likewise ordinarily need two bands for many

applications that deal with bass, for example if you were

recording a kick drum and wanted to boost the low bass

while knocking out much of the boominess or mud in the

frequency range right above the point you selected.

Diagrams 3 and 4 show how the shape of the midrange

bell-curve EQ filters depends on the type of cutting or

boosting used. In Diagram 3, it is apparent that with the

same Q-factor, cuts are much narrower in bandwidth than

are boosts. In practice this phenomenon leads to very musical

results, as it allows you to use very steep cuts to excise

unwanted low-frequency sounds without affecting

neighboring regions. Boosts on the other hand are generally

much broader in bandwidth, and therefore sound full with

smooth transitions from the affected to the

unprocessed regions.

Diagram 4 shows clearly that we are dealing with

Constant-Q equalization filters The general shape of each

curve, whether boost or cut, remains the same while the

levels change; and as the amount of boost or cut increases,

the frequency range affected becomes broader. In contrast,

EQ filters with a constant bandwidth, which always work on

the same frequency range, do not adapt to changes in level

but are fixed. MindPrint chose to employ constant-Q

equalization filters because in practice they yield more

musical results. Otherwise if the bandwidth remains fixed

while the level changes, the transitions from the processed

region to the unprocessed will not sound completely natural.

Freq.Resp. DTC HF-Filter Functions for 2,8kHz

0.02 0.1 0.5 1 2 5 10 kHz

-10

-20

-30

1 2 ... 6 7 8 9 10 11 12 13 14 15 16 ... 39 40

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