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Understanding Audio Effects
Published in Brecht De Man, Ryan Stables, Joshua D. Reiss, IntelligentMusic Production, 2019
Brecht De Man, Ryan Stables, Joshua D. Reiss
Equalization, as described in [18], is an integral part of the music production workflow, with applications in live sound engineering, recording, music production, and mastering, in which multiple frequency-dependent gains are imposed upon an audio signal. Equalizing a sound mix is one of the most complex tasks in music mixing and requires significant expertise. The main problem of determining the amount of equalization to be used is that the perceived equalization is different from the applied equalization. In order to achieve a perceptually pleasant equalization several things should be considered: whether or not the channel needs equalization at all, how many filters should be used, the type of filters and ultimately the amount of boost or cut they should have. Some studies on how the sound engineer performs these decisions have been made by Bitzer et al. [92,96].
Studios and their facilities
Published in Michael Talbot-Smith, Audio Engineer's Reference Book, 2013
Malcolm Nelson, Peter Harris, Larry Goodson, John Howell, Peter Jackson, Geoff Atkins, Yasmin Hashmi, Tim Robinson
Graphic equalizers These have vertical sliding controls arranged in a horizontal row on the front panel so as to indicate by their position the curve selected. Each slider represents a centre frequency in a series normally at either octave or one-third octave intervals, the latter allowing a fairly fine degree of control. The controls normally have a range of about 15 dB either side of zero gain, and can therefore give a misleading idea of the severity of the effect created if, for example, adjacent controls are set to opposite extremes of their travel, thus apparently indicating a setting beyond the capability of the circuitry. Graphic equalizers are extensively used where the object is to create a curve which is the inverse of the response indicated on an analyser the centre frequencies of which match those of the equalizer, as for instance when setting room or loudspeaker equalization.
Production and Post-Production Techniques
Published in Joe Follansbee, Hands-On Guide to Streaming Media, 2006
Equalization is the process of turning up (boosting) or turning down (attenuating) small frequency ranges within audio. In the case of a muddy-sounding voice, you can try turning up the higher frequencies and turning down the low frequencies. Try attenuating frequencies below 100 Hz and boosting frequencies in the 1 to 4 kHz range. A typical software graphic equalizer is shown in Figure 4-4.
Interference Cancellation in Wireless Communications: Past, Present, and Future
Published in IETE Journal of Education, 2022
S. M. Zafaruddin, Pranay Bhardwaj
High bit-rate transmissions over multi-path channels may cause inter-symbol interference (ISI) if the symbol duration becomes comparable or less than the delay spread of the channel. A naive approach may be to lower the data rate transmissions sufficiently to account for the ISI. However, channel equalization is a potential technique to suppress the ISI and render the demand for high data rates in modern communication systems [11]. Channel equalization compensates for the distortion in the transmitted signal due to the frequency-selective channel. There are many equalization techniques for ISI mitigation such as linear equalizer, adaptive equalizer, decision feedback equalizer, and maximum-likelihood sequence estimator [12]. On the other hand, multicarrier modulation divides a wideband channel into multiple low-rate orthogonal sub-channels with negligible ISI [13]. A popular implementation of multicarrier modulation for wireless systems is orthogonal frequency division multiplexing (OFDM). However, OFDM is sensitive to the carrier frequency offset (CFO), which may be caused due to differences in the carrier frequencies of transmitter and receiver.