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Andrew and Aleksey,

I use previously captured 'averaged' curves in the Ozone2 spectrum analyzer.  The curves are of very professionaly mastered music that I would like mine to sound like - in the general sense.  In CurveEQ we can display infinite average and infinite peak now - I'd like to be able to save those for later use.

What you guys are talking about - bass - mids - highs.  Yes they all have a general shape, slope, bel, resonant peak, whatever.

Down in the bass some of my reference material has 40Hz octave bell, some of it is rolled off beginning at 80Hz.  Depending on what I'm doing I want to display that reference spectrum in CurveEQ.

Right now CurveEQ will let me use a +5dB slope as reference - which is working great by the way !  But that is for the midrange only, there are knees or bells that follow a different type of slope or rolloff curve or either side of the mids.  Those are really tricky fo me yet.

This conversation about standard curves is somewhat related to the topic here, I think that I may have not clearly stated that I'm just asking for previous reference curves to be diaplayed - just like using a grease pencil on my monitor - it's not a real time analysis - just a curve like the line you paint at 0dB:

http://voxengo.com/phorum/read.php?f=1&i=423&t=423

As a side note - to get the fine balance I talked about earlier using Andrews +5dB slope method I used a 60 points freehand resolution but the curve I drew in the end turned out to be a pretty wide bandwidth of an octave or 2 in the mids.

BTW Aleksey does Spectrumatch use infinite average or infinite peak ?

Thanks,

kylen

Any ME's using CurveEQ - freehand, infinite peak, infinite average

Jan uses infinite peak - any tips ?


SpectruMatch always uses infinite average.

Taking spectrum display snapshots is still a planned feature.


I need to clear up something from a remark I made earlier in this thread concerning freehand technique:

I tried my technique again last night and couldn't do it the same way with the freehand over the 0dB line and inverting !  Was it a dream ?

Every time I draw something it kicks the EQ filter in and the average curve resets, if I'm really fast I can draw something - but I don't remember it this way.

Well, all things being equal, I'll assume I made a mistake and think about it more later.  Anyway this other method is pretty fast too.

What I'm doing now (using the same 5dB oct slope) is simply drawing a curve below the 0dB line freehand to approximate (mirror) the part of the midrange poking up over the 0dB flat line - I'm not too good at adjusting less than 100-120Hz or greater than 5-6K so I let those roll off as they were.  The Bass and Hi boundries just depends where the slope is on the material I'm repairing (remember this is a re-balance mids are way off).

After a first pass I then increase the scale magnification from 30dB down to 24 , also I magnify a freq range to get my midrange 'compensation' curve a little better.  I switch from freehand to points mode and draw a box around 6 points usually, sometimes down to 3 or 2 points.  When I get done though the new filter end up being fairly wide bands unlike the spikes I get when I use Spectrumatch.  When I get my re-balance curve then I move the attenuate gain arrows to apply more or less of the new filtering.

Anyway when I've got the filter drawn right the mids seem more or less flat at the full 30db magnification.

One more note here - I'm re-balancing some badly mixed stuff in which the midrage is really poking out due to bad recording and monitoring during mixdown.

Once I've re-balanced the EQ then it's ready for dynamics repair (that's out too wouldn't you know it).  Once the re-balance is done then I can begin to add real pre-Mastering polish that Aleksey was talking about above.

kylen


If you want a flat line just capture the spectrum of white or pink noise (I use a combination) and match your mix (I match the chorus usually).  Then delete points you dont want i.e. sub bass and ultra high eq points.


Just a quick correction, I was meant to say 'capture the spectrum of brown and pink noise' - white is way to treble. :)

Thanks P-boy - great tips about deleting any unnecessary points (the fun part to listen and figure out which ones) especially in the sub-bass ( less than about 80Hz) and treble (greater than around 15KHz) !

In addition I usually use the attenuate arrow to make the 'curve' I'm pushing into have less affect.  Pushing into white or pink noise kind of has the same effect as pushing into the 'average' captured spectrum of another song in a certain respect.  If my song has no energy in a particular spot then I don't necessarily want to push a narrow band up (like if I selected 30 or 60 points) but a broader band will sound better (7, 12 or even 20 points) then deselect the sub and hi and attenuate that curve.  Folks have mentioned that on this and other forums.  On a full mix I'm trying not to have any EQ greater than 2 dB at any point.  If I still need more then I'll add another final CurveEQ on the chain.

I guess in general they say that lowering a narrow band (less than 1/3 octave width - maybe 1/6 or 1/10 ?) is easier for the ears and brain to deal with than rasing a peak like that.  I hadn't paid much attention to that with CurveEQ - I'll see if I notice that my self when I use spectrumatch... :)

Thanks for reminding me about CurveEQ balancing !  When I get lazy or get a new toy I seem to drift towards pushing into a compressor when I should be balancing using an EQ.

kylen

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