The resolution of the filter can be lowered or increased (up to roughly 22 Hz) and the processing latency can be changed to obtain a lower CPU usage or a lower latency. Changing parameters, either by adjusting the knobs, the graph or by parameter automation is always done smoothly and creates no audio artifacts.Īdjustable resolution, latency and CPU usage. Given the uniquely immense gain range there's also a built-in limiter whose knob lights up when over the adjustable threshold. Gains are represented logarithmically between -60 dB and +60 dB and linearly below -60 dB. This allows you to completely silence entire ranges of the spectrum or to really bring back some fainter harmonics by boosting their amplitude thousandfold. The whole interface responds fluidly to change, even the frequency visualisation has a great frame rate and all the graphics are perfectly anti-aliased. It moves in a fluid manner in sync with the source sound and has a frequency resolution of about 10 Hz. It's also fine tuned so that intensities at different frequencies are represented in a way that matches closely to our perception. More intuitive than your usual logarithmic curve frequency display, this frequency analyser shows you the intensity of frequencies before and after the filtering with colours. You can modify the curve as a whole using the transpose function to shift the curve up and down by up to 10 octaves, affect the overall gain to shift all gain settings up or down evenly or even change the gain scale to apply a ratio to all gains, thus enabling you to either flatten, exaggerate or reverse the shape of a curve.įrequency analyser. You can create or disable bands by double clicking on the visualisation area of the interface and adjust them either in that area or using the knobs or even the automatable parameter sliders in the host's interface.
Splineeq able to eq copy free#
Up to 60 bands (only up to 4 in the free version of SplineEQ) or as low as 1. The actual filter's frequency profile is displayed as a dashed curve when it differs from the ideal spline curve (this can be changed by changing the filter's resolution). No filter types to choose from, all points simply define part of the shape of the filter's spline curve. Filters are simply created by designing a spline curve which can be made to adopt any imaginable shape. Also has the advantage of not incurring aliasing artifacts. Offers a better sound quality than the more common minimum phase equalizers by not affecting the phase of sound, only the intensity of frequencies, which makes it easier to achieve good sounding results. Due to their higher fundamental frequencies, I’m expecting a lot more frequency clusters in the higher end of the spectrum, so that might make it difficult to count the frequencies I’m hearing/seeing via SplineEQ.Linear phase equalizer. I’ll be using this same method of spectral analysis for the A2 and A3 bass notes. Once I have each frequency then I can compile them together and add their respective ADSR properties, and then hopefully I should have replicated this bass note! With this info I can replicate each of the frequencies using granular synthesis. Here is the first list of sideband frequencies for the bass note A1! I now have a list of frequencies for this one bass note that are split into categories based on how long it takes for their volumes to decay into zero dB. Once I have pitched my grains enough I believe that it’ll be easy to emulate these higher frequencies with filters and distortion! Here’s what this particular part of the sound actually sounds like (I compressed it to make it louder due to it’s naturally low volume) The waveform looks generally quite simple. Here’s a snapshot taken from around the 900 Hz region. I also used the s(m)exoscope to get a look at the waveform of the higher up parts of the sound. So, knowing that I’ll be aiming to create that dissonant resonance myself while emulating the sounds!
I learned that a low bass note has a lot of clustered notes around the 1K area that all sound like dissonant resonance. Not only was it made easier to identify the frequency but it was also really cool to hear the frequency in action. This is made simple with SplineEQ and it’s flexible parameters! Once these plugins were in place, I spent a long time with isolating each active frequency and getting an average for the frequency of each sideband.
Splineeq able to eq copy full#
This was to get a feel of the overall shape of the full sounds waveform. I also ran a plugin called S(m)exoscope which allows you to view waveforms in real time. This allowed me to clearly see the active frequencies in the note! So what I did was write in an A1, A2 and A3 with the ‘Classic Bass’ sound in Kontakt, and then export each one separately before importing them back into the project.Īfter that I ran the first bass note (A1) through a visual EQ called SplineEQ 32.
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