dirtysouthstunta wrote: I'm looking for a plugin for protools that is very visual type eq, I want to be able to not only hear the changes I'm making but see the bars jumping at the different frequencies and adjust them, what do you suggest?

I suggest you mix with your ears not your eyes.

~S

this is not only for mixing... I'm doing some projects where I need to know the frequencies instruments are hitting, and be able to alter them if I want.

Have you tried the free 7-band EQIII off the digidesign site?

Almost every DAW has an analyzer plugin don't they? I know Cakewalk/Sonar, CoolEdit/Audition, and Nuendo do.

~S

Take a look at the FREE Inspector plug, for seeing what certain frequencies are doing in your mix.
http://www.elementalaudio.com/products/inspector/index.html

I use their suite of plugs for my final mix, for eq look at Equium, and Firium.

great plugs for the price

8)

Voxengo has a spectrum analyzer plug called SPAN. Not sure if it is compatable with PT, but for any other software which uses VST plugs, its nifty and FREE!

pappadelicious wrote: Have you tried the free 7-band EQIII off the digidesign site?

okay, I'm going to check that out, is it easy to find on their site?

drumist69 wrote: Voxengo has a spectrum analyzer plug called SPAN. Not sure if it is compatable with PT, but for any other software which uses VST plugs, its nifty and FREE!

can you tell me what a VST plug in is? thanks.

gdoubleyou wrote: Take a look at the FREE Inspector plug, for seeing what certain frequencies are doing in your mix.
http://www.elementalaudio.com/products/inspector/index.html

I use their suite of plugs for my final mix, for eq look at Equium, and Firium.

great plugs for the price

8)

okay, I will try these, thanks!

dirtysouthstunta wrote: [quote=drumist69]Voxengo has a spectrum analyzer plug called SPAN. Not sure if it is compatable with PT, but for any other software which uses VST plugs, its nifty and FREE!

can you tell me what a VST plug in is? thanks.

a plugin format you can't use in protools without a conversion software

Well - a couple things.

First, I agree - mix with the ears, not with the eyes. If you need to determine a frequency, there are a few proven solutions.

1. Sweep the EQ until you hear the frequency that you want to affect change.

2. Use a piano/keyboard to determine the pitch and then relate it to frequency

3. Know your pitches (with #2 and some practice, this ain't hard) and their frequencies. Just remember - A above middle C is 440 Hz. Halfing or doubling changes the pitch by exactly one octave. Pedal Bb is right around 60 Hz (lightbulb hum frequency in the states).

As for plug-ins - I would lean towards Algorithmix - but you can't on ProTools, so forget that. Otherwise, I've started using WaveArts (http://www.wavearts.com) and have been pretty darned impressed with what I've used so far. The price ain't bad either! (I like most or all of their stuff better than the Waves counterparts.)

Their EQ is intended for use on the channel strip level, not the master bus, but it certainly can work on the bus too.

Otherwise, my choice for "best plug-in EQ" would be:

I'll disagree with Jeremy on the sweeping part...its been written (and has been my experiences as well) that sweeping does strange things to the perception of pitch and timbre...

In lieu, I would recommend 1) having a pretty good idea of the range of the instruments you are playing back; 2) taking a educated guess and resetting EQ to what you think the desired effect will be BEFORE you hit play....not quite right? Stop playback, adjust, then hit play again.

Takes a bit more time and a LOT of practice, but I've found this works wonders...also try to avoid making adjustments in solo mode...that which sounds killer by itself may sound like buzzard barf in context...

Just another opinion.

Midlandmorgan wrote: 2) taking a educated guess and resetting EQ to what you think the desired effect will be BEFORE you hit play....not quite right? Stop playback, adjust, then hit play again.

Interesting idear. Don't think I've ever tried it quite like that. I'm gonna have to practice up on this.

okay, this may sound like a dumb question, but is it true that you should try to separate your instruments with their frequencies, like let's say you have a bass guitar and a bass drum, should you try to eq them so that they are not hitting the same frequencies?

sony oxford eq is my favorite eq plugin for protools.

as far as sweeping eqs to find the freqs that you want to adjust. i do this all the time as well as many engineers that i highly respect. works great.

also: as far as not soloing stuff to eq. i do this all the time to get it to sound right, and then i listen to it in the mix. you all seem a bit superstitious that if you listen to it without the mix that you will not eq it correctly. to that i say bulllllll....

it would be wise to learn what freqs are affected on different instruments before you start futzing with them, but i've learned a lot by not knowing what frequencies to mess with, and i figured it out after trial and error.

steve

dirtysouthstunta wrote: okay, this may sound like a dumb question, but is it true that you should try to separate your instruments with their frequencies, like let's say you have a bass guitar and a bass drum, should you try to eq them so that they are not hitting the same frequencies?

Not always. In fact, having a kick and a bass on the same frequency can heighten the intensity of the bass. Think DMB "Don't Drink the Water"

Frequency carving is most useful in the critical midrange, but shouldn't be done unless there's a problem. If you have 2 rhythm guitars in or around the same frequencies, you'll have problems. That's more of a producer/arranger issue though. You might need to bitch-slap your guitarists if they're doing this.

Another problem occurs with guitar and voice occupying the same space.

Bear in mind, the pitch is not always the guilty participant. Often (err, always) overtones influence the way a pitch sounds and/or projects through a mix. Altering the fundamental won't do all the much other than weaken the attack or verility of the instrument/voice that you're cutting.

Imagine the problems a symphony would have if the concept were entirely true. There are lots of instruments mostly all hitting within a 2 or 3 octave range (yeah, there's the contrabasses and the piccolos...). Listen to Stravinsky's "Rite of Spring" and see/hear just how much info can be heard at the same time in the same frequency domain.

J.

dirtysouthstunta wrote: okay, this may sound like a dumb question, but is it true that you should try to separate your instruments with their frequencies, like let's say you have a bass guitar and a bass drum, should you try to eq them so that they are not hitting the same frequencies?

i second that question

Dyami wrote: [quote=dirtysouthstunta]okay, this may sound like a dumb question, but is it true that you should try to separate your instruments with their frequencies, like let's say you have a bass guitar and a bass drum, should you try to eq them so that they are not hitting the same frequencies?

i second that question
it was answered right above your post

Cucco wrote: [quote=dirtysouthstunta]okay, this may sound like a dumb question, but is it true that you should try to separate your instruments with their frequencies, like let's say you have a bass guitar and a bass drum, should you try to eq them so that they are not hitting the same frequencies?

Not always. In fact, having a kick and a bass on the same frequency can heighten the intensity of the bass. Think DMB "Don't Drink the Water"

Frequency carving is most useful in the critical midrange, but shouldn't be done unless there's a problem. If you have 2 rhythm guitars in or around the same frequencies, you'll have problems. That's more of a producer/arranger issue though. You might need to bitch-slap your guitarists if they're doing this.

Another problem occurs with guitar and voice occupying the same space.

Bear in mind, the pitch is not always the guilty participant. Often (err, always) overtones influence the way a pitch sounds and/or projects through a mix. Altering the fundamental won't do all the much other than weaken the attack or verility of the instrument/voice that you're cutting.

Imagine the problems a symphony would have if the concept were entirely true. There are lots of instruments mostly all hitting within a 2 or 3 octave range (yeah, there's the contrabasses and the piccolos...). Listen to Stravinsky's "Rite of Spring" and see/hear just how much info can be heard at the same time in the same frequency domain.

J.

Thank you very much, so what I gather is that it still all on your ear, you can have instruments hitting all over the same frequencies as long as it sounds good.

Basically. But if there is a part in your mix that you are wanting to hear but it doesn't come through very well, there is a good chance there are frequencies being produced by other elements in the mix that are masking what you are trying to hear. But you will never get it to where nothing shares any frequencies.

I would say that the answer to that question depends on the density of the mix. In a lot of modern rock mixes that have two or more kitchen sinks involved, things have to be pretty narrow in band to cut through.

The exception to this, of course, is the vocal - always.

~id