Tutorial 8: Using filters to enhance instruments dynamics

[Pietro]

Hello everyone,

A new tutorial is finally online.

This time, I'm talking about using filters and eq to simulate velocity layers for instruments that only have one, or to apply a nice modwheel function for non-dxf patches to enhance dynamics. This time it's almost completely done with Kontakt3, however, since PLAY Pro is planned to have much of the functionality of Kontakt, I encourage you to read this, and when PLAY Pro is out, you'll have an idea of what to do.

Here's the link. It's number 8:
www.piotrmusial.com/tutorials

Comments, questions and ideas, as always are more than welcome .

- Piotr

[KenK]

Hey Piotr-

Much thanks for that tutorial!
As I'm sure you recall, I've been wondering about this exact idea.

I've read about the Fletcher-Munson curve, but never though about how I'd go about using it to eq a mix.
One of my personal mix tricks, is to listen as quietly as possible, a good way to tell what kind of balance you have.

I'm going to try to build a logic env that will do this. (when I have time)
I don't think it would be that complex.

Here's a question for you (or other audio experts).
Is there some kind of universality that would apply to the freq used here?
Perhaps there would be similar curves for specific instrument groups. (less for woods than brass for example)
It would seem that each sample could require it own settings- which may make this a little impractical.

Do you find you're altering the basic settings often?
As I don't have Kontact, the pics are giving me more of a basic rather than exacting idea as to how to create this scenario in logic.

Guess I'll have to use trial and error, but If anyone has some specific vel to db/freq ratios, it would be great.

Thank again for this great tutorial!

KenK

[drum4umusic]

Another great tutorial from Piotr. I look forward in trying this out over the weekend. Thanks for sharing.
Matt

[Pietro]

Originally Posted by KenK

I've read about the Fletcher-Munson curve, but never though about how I'd go about using it to eq a mix.
One of my personal mix tricks, is to listen as quietly as possible, a good way to tell what kind of balance you have.

The louder you monitor, the more audible the lows and sharper the 3-4k bump. If you listen to your mix very quietly, then you cannot hear much of the lows, and the 3-4k bump is not as distinct. The danger of listening too loud or too quiet is that at both extremes, the proportions become imbalanced and the sound is either too flat (quiet) or too sharp (loud). I think the best way is to listen to your mixes at medium and comfortable volume, unless your aim is, for example game music - where I believe it's better to mix a bit more quietly, since this is how the music will be presented later to the listener.

It's best to make sure everything sounds at least fine when played louder or softer anyway. Hope this makes sense.

Here's a question for you (or other audio experts).
Is there some kind of universality that would apply to the freq used here?
Perhaps there would be similar curves for specific instrument groups. (less for woods than brass for example)
It would seem that each sample could require it own settings- which may make this a little impractical.

The audibility curve is constant, but the audio source is different for every sounds. However, when using EQs to achieve effects described in the tutorial, you set a full range of velocity or CC1 to it's full scale. When composing, you are always listening to how the instrument sounds when you play it, so you'll hear at what velocity the bump works best, so I think it comes pretty natural. If it doesn't sound good at some velocities, then you don't use it. You can always change the sensibility of a modulator in the modulator tab or change the curve as you wish.

It's better to fine tune the EQ settings, for different instruments, but for percussion - in most cases, I found that the ones that I proposed work quite fine. I always set LP1 to 40Hz for example for sustained brass and strings - I don't have to use the lowest modwheel position when composing though.

With Kontakt, and most probably PLAY Pro in the future, it's very nice, that once you have the instrument and its settings figured out, you can just save it under the same or different name, and you won't have to do it again. Just load and use. I've saved a couple of instruments I used frequently, and they are ready to go.

Thank again for this great tutorial!

And thanks for the interest

- Piotr

[KenK]

Originally Posted by Pietro

The louder you monitor, the more audible the lows and sharper the 3-4k bump. If you listen to your mix very quietly, then you cannot hear much of the lows, and the 3-4k bump is not as distinct. The danger of listening too loud or too quiet is that at both extremes, the proportions become imbalanced and the sound is either too flat (quiet) or too sharp (loud). I think the best way is to listen to your mixes at medium and comfortable volume, unless your aim is, for example game music - where I believe it's better to mix a bit more quietly, since this is how the music will be presented later to the listener.

It's best to make sure everything sounds at least fine when played louder or softer anyway. Hope this makes sense.

Yes- I use the quiet run through as more of a test than as a big part of the process.

Originally Posted by Pietro

The audibility curve is constant, but the audio source is different for every sounds. However, when using EQs to achieve effects described in the tutorial, you set a full range of velocity or CC1 to it's full scale. When composing, you are always listening to how the instrument sounds when you play it, so you'll hear at what velocity the bump works best, so I think it comes pretty natural. If it doesn't sound good at some velocities, then you don't use it. You can always change the sensibility of a modulator in the modulator tab or change the curve as you wish.

It's better to fine tune the EQ settings, for different instruments, but for percussion - in most cases, I found that the ones that I proposed work quite fine. I always set LP1 to 40Hz for example for sustained brass and strings - I don't have to use the lowest modwheel position when composing though.

With Kontakt, and most probably PLAY Pro in the future, it's very nice, that once you have the instrument and its settings figured out, you can just save it under the same or different name, and you won't have to do it again. Just load and use. I've saved a couple of instruments I used frequently, and they are ready to go.

All that makes sense. But being a Logic user, I have to "design" a vel to eq patch in the environment.
The "problem" is to figure out how I want the vel curve to affect the eq.
Seems like w/ contact you don't have to think about this much.
I'm assuming that vel should modulate the db level of either of your examples in the tut.
Once I get in there it may become obvious.

But I'm going to have to set it up from scratch.
I'm thinking of setting a transform object to modulate the db via vel.
But I'll have to use some form of scaling or transform map to get it usable.
That kind of thing doesn't even makes sense to most Logic users, so I'm not expecting an answer.
Just sort of letting you know how I'd go about it.

Thanks again Pietro

KenK

[A.Leung]

Applause once more is due to you my good man! Well done! I hope to find time to delve into your tutorial more and send off some comments.

How lucky this forum is for your input and generous time.

[t_l]

You rock dude!

Thank You!

[Phil Anderson]

Nice tutorial. Really practical idea for a lot of older samples that still sound great, but could benefit from a little modern help.