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56:
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equalization until the present day, as well as the theoretical underpinnings of the elegant circuit. Instead of slide potentiometers working on individual bands of frequency, or rotary switches, Flickinger's circuit allowed arbitrary selection of frequency and cut or boost level in three overlapping bands over the entire audio spectrum. Six knobs on his early EQs would control these sweepable filters. Up to six switches were incorporated to select shelving on the high and low bands, and bypassing for any unused band for the purest signal path.
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Instead it uses nine drivers all of the same four-inch diameter, more akin to what one would find in a table radio. However, this speaker system is sold with an active equalizer. That equalizer must be inserted into the amplifier system so that the amplified signal that is finally sent to the speakers has its response increased at the frequencies where the response of these drivers falls off, and vice versa, producing the response intended by the manufacturer.
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is possible to cut the gain only around that frequency while preserving the gain at most other frequencies. This can best be done using a parametric equalizer tuned to that very frequency with its amplitude control sharply reduced. By adjusting the equalizer for a narrow bandwidth (high Q), most other frequency components will not be affected. The extreme case when the signal at the filter's center frequency is completely eliminated is known as a
1309:. The bass and treble controls in a hi-fi system are each a first-order filter in which the balance of frequencies above and below a point are varied using a single knob. A special case of first-order filters is a first-order high-pass or low-pass filter in which the 6 dB per octave cut of low or high frequencies extends indefinitely. These are the simplest of all filters to implement individually, requiring only a capacitor and resistor.
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EQ was borne, more or less, out of an idea that
Burgess and I had around 1966 or 1967 for an EQ… three controls adjusting, independently, the parameters for each of three bands for a recording console… I wrote and delivered the AES paper on Parametrics at the Los Angeles show in 1972… It’s the first mention of 'Parametric' associated with sweep-tunable EQ."
1911:. "Rumble" is a type of low-frequency noise produced in record players and turntables, particularly older or low quality models. The rumble filter prevents this noise from being amplified and sent to the loudspeakers. Some cassette decks have a switchable "subsonic filter" feature that does the same thing for recordings.
1747:
1333:; a higher Q corresponds to a sharper response (smaller bandwidth) around a particular center frequency. For instance, the red response in the accompanying image cuts frequencies around 100 Hz with a higher Q than the blue response which boosts frequencies around 1000 Hz. Higher Q's correspond to
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Equalization is used in a reciprocal manner in certain communication channels and recording technologies. The original music is passed through a particular filter to alter its frequency balance, followed by the channel or recording process. At the end of the channel or when the recording is played, a
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A variant of the parametric equalizer is the semi-parametric equalizer, which is also known as a sweepable filter. It allows users to control the amplitude and frequency, but uses a pre-set bandwidth of the center frequency. In some cases, semi-parametric equalizers allow the user to select between a
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is set to zero, implements a first-order low-pass or high-pass filter, respectively. However, the usual tone controls have a more limited range, since their purpose is not to eliminate any frequencies but only to achieve a greater balance when, for instance, the treble is lacking and the sound is not
113:
adjustments. Graphic and parametric equalizers have much more flexibility in tailoring the frequency content of an audio signal. Broadcast and recording studios use sophisticated equalizers capable of much more detailed adjustments, such as eliminating unwanted sounds or making certain instruments or
366:
envisioned a tunable EQ for a new recording console. Bob
Meushaw, a friend of Massenburg, built the equalizer. According to Massenburg, "Four people could possibly lay claim to the modern concept: Bob Meushaw, Burgess Macneal, Daniel Flickinger, and myself… Our (Bob’s, Burgess’ and my) sweep-tunable
342:
Model EQ-251A was the first equalizer to use slide controls. It featured two passive equalization sections, a bass shelving filter, and a pass band filter. Each filter had switchable frequencies and used a 15-position slide switch to adjust cut or boost. The first true graphic equalizer was the type
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in general. Audio electronic equipment evolved to incorporate filtering elements as consoles in radio stations began to be used for recording as much as broadcast. Early filters included basic bass and treble controls featuring fixed frequency centers, and fixed levels of cut or boost. These filters
1903:
equipment for gross adjustment of the frequency balance. The bass control may be used, for instance, to increase the drum and bass parts at a dance party, or to reduce annoying bass sounds when listening to a person speaking. The treble control might be used to give the percussion a sharper or more
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for that microphone, perhaps sacrificing the contribution of a singer's voice, for instance. Even at a slightly reduced gain, the feedback will still cause an unpleasant resonant sound around the frequency at which it would howl. But because the feedback is troublesome at a particular frequency, it
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A first-order low-pass or high-pass filter has a standard response curve that reduces the unwanted frequencies well above or below the cutoff frequency with a slope of 6 dB per octave. A second-order filter will reduce those frequencies with a slope of 12 dB per octave and moreover may be
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introduced the first parametric equalizer in early 1971. His design leveraged a high-performance op-amp of his own design, the 535 series to achieve filtering circuits that were before impossible. Flickinger's patent from early in 1971 showed the circuit topology that would come to dominate audio
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An equalizer can be used to correct or modify the frequency response of a loudspeaker system rather than designing the speaker itself to have the desired response. For instance, the Bose 901 speaker system does not use separate larger and smaller drivers to cover the bass and treble frequencies.
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The range of second-order filter functions is important because any analog filter function can be decomposed into a (usually small) number of these (plus, perhaps, simpler first-order responses). These are implemented directly by each section of a parametric equalizer where they are explicitly
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1144:. The amplitude passed by each filter is adjusted using a slide control to boost or cut frequency components passed by that filter. The vertical position of each slider thus indicates the gain applied to that frequency band, so that the knobs resemble a
153:. Equalization may also be used to eliminate or reduce unwanted sounds (e.g., low-frequency hum coming from a guitar amplifier), make certain instruments or voices more (or less) prominent, enhance particular aspects of an instrument's tone, or combat
217:; this was prior to the invention of electronic amplification. Initially, equalization was used to compensate for the uneven frequency response of an electric system by applying a filter having the opposite response, thus restoring the fidelity of the
1966:, a filter is used to reduce the amplitude of low frequencies which otherwise produce large amplitudes on the tracks of a record. Then the groove can take up less physical space, fitting more music on the record. The preamplifier attached to the
563:
of those frequencies. While the human ear is not as sensitive to the phase of audio frequencies, music professionals may favor certain equalizers because of how they affect the timbre of the musical content by way of audible phase artifacts.
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of a mix, creating the impression that some sounds in a mono or stereo mix are farther away or closer than others. Equalization is also commonly used to give tracks with similar frequency components complementary spectral contours, known as
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While high-pass and low-pass filters are useful for removing unwanted signal above or below a set frequency, shelving filters can be used to reduce or increase signals above or below a set frequency. Shelving filters are used as common
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from the 1950s through to the 1970s. Later on, as other manufacturers started to market their products, these
British companies began touting their equalizers as being a cut above the rest. Today, many non-British companies such as
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made from 1971 to the present day rely upon the designs of
Flickinger, Massenburg and McNeal in either semi or fully-parametric topology. In the late 1990s and in the 2000s, parametric equalizers became increasingly available as
457:, such as a treble control, adjusts the gain of higher frequencies only. These are broad adjustments designed more to increase the listener's satisfaction than to provide actual equalization in the strict sense of the term.
804:
1938:, these filters operate on the low level audio signals, sending the low-frequency and high-frequency signal components to separate amplifiers, which connect to the woofers and tweeters, respectively.
1170:
equalizer might have one set of controls applying the same gain to both stereo channels for convenience, with a total of five to ten frequency bands. On the other hand, an equalizer for professional
1880:. When the sound produced by the speakers is picked up by a microphone, it is further reamplified; this recirculation of sound can lead to "howling", requiring the sound technician to reduce the
236:. Sound engineers correct the frequency response of a sound system so that the frequency balance of the music as heard through speakers better matches the original performance picked up by a
1830:. Selected components of parts that would otherwise compete, such as bass guitar and kick drum, are boosted in one part and cut in the other, and vice versa, so that they both stand out.
1225:") can be widened or narrowed. Parametric equalizers are capable of making much more precise adjustments to the sound than other equalizers, and are commonly used in sound recording and
1954:
that is introduced by the radio is then also de-emphasized at the higher frequencies (where it is most noticeable) along with the pre-emphasized program, making the noise less audible.
1442:
47:. For the left and right bands of the sound content, there are a series of vertical faders, which can be used to boost or cut specific frequency ranges. This equalizer is set to a
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apart, three filters to an octave. Equalizers with half as many filters per octave are common where less precise control is required—this design is called a 2/3-octave equalizer.
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A parametric equalizer has one or more sections each of which implements a second-order filter function. This involves three adjustments: selection of the center frequency (in
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crisp. Since the range of possible responses from shelving filters is so limited, some audio engineers considered shelving controls inadequate for equalization tasks. On some
472:, and the level or gain control which determines how much those frequencies are boosted or cut relative to frequencies much above or below the center frequency selected. In a
438:, the adjustment of those functions and the flexibility with which they can be adjusted varies according to the topology of the circuitry and controls presented to the user.
1392:
221:. A plot of the system's net frequency response would be a flat line, as its response at any frequency would be equal to its response at any other frequency. Hence the term
1904:"brilliant" sound, or can be used to cut such high frequencies when they have been overemphasized in the program material or simply to accommodate a listener's preference.
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The number of frequency channels (and therefore each one's bandwidth) affects the cost of production and may be matched to the requirements of the intended application. A
348:
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generator. Then a graphic equalizer can be easily adjusted to compensate for the room's acoustics. Such compensation can also be applied to tweak the sound quality of a
1810:
volume levels for the different frequencies. For example, equalization is used to modify an instrument's sound or make certain instruments and sounds more prominent. A
1742:{\displaystyle N\ =\ 2\log _{2}\left({\frac {1}{2Q}}+{\sqrt {{\frac {1}{4Q^{2}}}+1}}\right)\ =\ {\frac {2}{\ln(2)}}\operatorname {arsinh} \left({\frac {1}{2Q}}\right).}
1301:
A first-order filter can alter the response of frequencies above and below a point. In the transition region the filter response will have a slope of up to 6
588:
passes low-frequency components of signals while attenuating higher frequencies. In audio applications these high-pass and low-pass filters are frequently termed
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A graphic equalizer also implements second-order filter functions in a more user-friendly manner but with somewhat less flexibility. This equipment is based on a
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complementary filter is inserted which precisely compensates for the original filter and recovers the original waveform. For instance, FM broadcasting uses a
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filter section only reduces (rather than eliminates) very high frequencies, but has a steep response falling to zero at a specific frequency (the so-called
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of individual instruments and voices by adjusting their frequency content and to fit individual instruments within the overall frequency spectrum of the
441:
Shelving controls are usually simple first-order filter functions that alter the relative gains between frequencies much higher and much lower than the
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339:
2311:
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887:)| = 1 and the circuit has no effect. At most, the slope of the filter response in the transition region will be 6 dB per octave.
1329:(or anti-resonance) around a particular frequency. The response of a second-order filter is specified not only by its frequency but also its
517:
energy from a program that may consume undue amplifier power and cause excessive diaphragm excursions in (or even damage to) loudspeakers. A
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1221:. The amplitude of each band can be controlled, and the center frequency can be shifted, and the bandwidth (which is inversely related to "
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A "rumble filter" is a high-pass (low cut) filter with a cutoff typically in the 20 to 40 Hz range; this is the low frequency end of
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596:, respectively, to emphasize their effect on the original signal. For instance, sometimes audio equipment will include a switch labeled
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advertise
British EQ on their equipment. A British style EQ seeks to replicate the qualities of the expensive British mixing consoles.
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in the context of audio reproduction is not used strictly to compensate for the deficiency of equipment and transmission channels. A
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is now broadly used to describe the application of such filters regardless of intent. This broad definition, therefore, includes all
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of less than 1/2 can be decomposed into two first-order filter functions, a low-cut and a high-cut (or boost). Of more interest are
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Model 9062A EQ. In 1967 Davis developed the first 1/3 octave variable notch filter set, the Altec-Lansing "Acousta-Voice" system.
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1806:, equalization may be used to adjust frequency responses for practical or aesthetic reasons, where the end result typically is
653:. These implement a first-order response and provide an adjustable boost or cut to frequencies above or below a certain point.
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equipment, is adjusted to affect the gain of lower frequencies while having no effect well above its cutoff frequency. A
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filter functions which can boost (or cut) a narrow range of frequencies. In addition to specifying the center frequency
1814:
may use an equalizer to make some high-pitches in a vocal part louder while making low-pitches in a drum part quieter.
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response fails, however, at 71 Hz where the original system had a null in its response which cannot be corrected.
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In this case, the inclusion of the leading factor simply indicates that the response at frequencies much higher than
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In addition to adjusting the relative amplitude of frequency bands, an audio equalizer usually alters the relative
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have long had filters or controls to modify their frequency response. These are most often in the form of variable
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voices more prominent. Because of this ability, they can be aptly described as "frequency-specific volume knobs."
83:
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ASP8024 Mixing console. The upper section has high and low shelving EQ, the lower section has fully parametric EQ.
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systems, equalization is not only used to "flatten" the frequency response but may also be useful in eliminating
1562:{\displaystyle Q\ =\ {\frac {\sqrt {2^{N}}}{2^{N}-1}}\ =\ {\frac {1}{2\sinh \left({\frac {\ln(2)}{2}}N\right)}},}
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of a 3-way system). This is most often built into the speaker enclosure and hidden from the user. However, in
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A doubling of signal voltage and a consequent quadrupling of signal power for every doubling of frequency.
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responses (implemented as so-called biquad sections). These can be described according to their so-called
355:. It used a slide switch to adjust each band in 1 dB steps. Davis's second graphic equalizer was the
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525:, which is used to remove annoying white noise at the expense of the crispness of the program material.
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495:, but an adjustable level. The user can raise or lower each slider in order to visually approximate a
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functions. Blue: a 9 dB boost at 1 kHz. Red: a 6 dB cut at 100 Hz having a higher
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to modify frequency responses for aesthetic reasons. Hence in the field of audio electronics the term
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typically has some 25 to 31 bands, for more precise control of feedback problems and equalization of
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Two first-order shelving filters: a −3 dB bass cut (red), and a +9 dB treble boost (blue).
398:(DSP) equipment, usually in the form of plug-ins for various digital audio workstations. Standalone
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era, many stereos would include a switch to introduce a high-pass (low cut) filter, often called a
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are called the pole and zero frequencies, respectively. Turning down the treble control increases
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worked over broad frequency ranges. Variable equalization in audio reproduction was first used by
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filter to boost the high frequencies before transmission, and every receiver includes a matching
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only modifies the audio signal by removing high frequencies. An example of this is a high-cut or
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capable of reproducing it. For instance, a low-pass filter is used in the signal chain before a
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versions of DSP parametric equalizers were also quickly introduced after the software versions.
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in the 1920s. That system was used to equalize a motion picture theater sound playback system.
1117:, the units provide both low and high shelving controls and additional equalization controls.
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1988:
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are multi-band variable equalizers that allow users to control the three primary parameters:
1178:. Such an equalizer (as shown above) is called a 1/3-octave equalizer (spoken informally as "
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controls, and switches to apply low-cut or high-cut filters for elimination of low-frequency
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Playback equalization for 78rpm shellacs and early LPs (EQ curves, index of record labels):
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modifies a signal by eliminating only lower frequencies. An example of this is a low-cut or
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while helping to cut even higher frequency subcarrier components remaining from the stereo
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This article is about frequency-dependent processing of audio signals. For other uses, see
1067:{\displaystyle |H(f)|^{2}=(f_{z}/f_{p})^{2}\;{{1+(f/f_{z})^{2}} \over {1+(f/f_{p})^{2}}}.}
8:
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A first order low-pass (high-cut) filter implemented using only a resistor and capacitor.
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55:
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Two first-order shelving filters: a −3dB bass cut (red), and a +9dB treble boost (blue).
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1899:(usually designated "bass" and "treble") are simple shelving filters included in most
1837:, as an auditorium will generally have an uneven frequency response especially due to
545:). Such a filter might be ideal, for instance, in completely removing the 19 kHz
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1140:. Each filter passes the portion of the signal present in its own frequency range or
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has a complementary filter boosting those low frequencies, following the standard
1433:) are not said to be resonant and the above formula for bandwidth does not apply.
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645:(bass and treble) found in consumer audio equipment such as home stereos, and on
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381:(in 1972) and Burgess McNeal from ITI corp. In May 1972 Massenburg used the term
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is a system of filters designed to direct electrical energy separately to the
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EQ") because the center frequencies of its filters are spaced one third of an
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is the process of adjusting the volume of different frequency bands within an
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and other equipment developed for improving fidelity have since been used by
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During live events where signals from microphones are amplified and sent to
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Although the range of equalization functions is governed by the theory of
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played through imperfect speakers and modified by room acoustics (top) is
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determines how much that frequency band will be boosted (or cut). Thus a
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H. Tremaine, Audio
Cyclopedia, 2nd. Ed., (H.W. Sams, Indianapolis, 1973)
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equalizer, the user is given limited switchable options for bandwidth.
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1962:" while maintaining fidelity. On the other hand, in the production of
1782:, bandwidth or Q, and the amount of boost or cut usually expressed in
799:{\displaystyle |H(f)|^{2}={{1+(f/f_{z})^{2}} \over {1+(f/f_{p})^{2}}}}
232:
to adjust the frequency response in recording, reproduction, and live
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includes one such element whose Q is not adjustable by the user.
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is a filter, an electronic circuit or device, that passes higher
352:
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It is also possible to define the Q of a band-pass function as:
205:
The concept of equalization was first applied in correcting the
1919:
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to ensure that only deep bass frequencies reach the subwoofer.
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27:
Changing the balance of frequency components in an audio signal
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adjusted. And each element of a graphic equalizer based on a
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90:. The circuit or equipment used to achieve this is called an
1265:. A transfer function can be decomposed as a combination of
865:
are boosted. Setting the treble control at the center sets
491:. Each second-order filter has a fixed center frequency and
3548:
1412:
is the bandwidth expressed in the same frequency unit that
1337:
behaviour in which the half-power or −3 dB bandwidth,
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section will have three controls for its center frequency
351:. It featured 6 bands with a boost or cut range of 8
3315:
332:
2276:"A short history of graphic and parametric equalization"
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is set to infinity, or a low shelving response in which
844:
are attenuated. Turning up the treble control increases
476:
equalizer the bandwidth is preset by the designer. In a
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in order to effect an even steeper response around the
2420:"Perception of Phase Distortion in Anti-Alias Filters"
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is the bandwidth in octaves. The reverse mapping is:
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is unity and that only bass frequencies are affected.
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of the equalizer's response plotted versus frequency.
907:
681:
1229:. Parametric equalizers are also sold as standalone
2063:
1158:graphic and parametric EQs; the device on top is a
620:frequencies. High and low-pass filters are used in
385:in a paper presented at the 42nd convention of the
318:Filtering audio frequencies dates back at least to
51:, in which the mid-range sound frequencies are cut.
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1833:Equalizers can correct problems posed by a room's
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59:Equalizers are also made in compact pedal-style
2502:
2163:"Extraordinary EQ from Extraordinary Engineers"
2139:. Sweetwater. December 20, 1999. Archived from
2083:. University of Washington Press. p. 140.
1257:are mathematically described in terms of their
2418:Preis, Douglas; Bloom, P. J. (November 1984),
1817:Equalization is commonly used to increase the
377:Similar designs appeared soon thereafter from
3137:
2674:
2224:"Operator Adjustable Equalizers: An Overview"
2031:
1767:and the Q, the specification of the filter's
2506:The Theory and Technique of Electronic Music
2110:
3764:Professional Lighting and Sound Association
2221:
289:is one with similar properties to those on
278:at the disposal of a listener or engineer.
195:sophisticated filter using digital hardware
3354:Comparison of analog and digital recording
3144:
3130:
2681:
2667:
2417:
2076:
978:
293:made in the UK by companies such as Amek,
3088:Music technology (electronic and digital)
2217:
2215:
2106:
2104:
2102:
2100:
2424:Journal of the Audio Engineering Society
2190:The Telephone and the Multiple Telegraph
1316:
1292:
1244:
1193:
1150:
1136:, the input signal is sent to a bank of
487:covering the audio spectrum in up to 31
417:
409:
180:
54:
38:
2559:Glen Ballou, "Filters and equalizers",
2129:
1312:
1285:in the case of second-order responses.
1189:
137:, to correct or adjust the response of
14:
3862:
2252:
2212:
2155:
2097:
2042:
2013:
2011:
2009:
1408:frequency of the second-order filter.
1288:
468:which determines the sharpness of the
263:
44:
3825:New Interfaces for Musical Expression
3125:
2662:
2654:WikiRecording's Guide to Equalization
2503:Miller Puckette (December 30, 2006).
3151:
2688:
2589:Discriminating EQ frequencies by ear
2563:, Fourth edition, Focal Press, 2008
2344:from the original on April 18, 2024.
1752:A second-order filter response with
1325:Second-order filters are capable of
1237:wide and a narrow preset bandwidth.
1120:
499:of the intended frequency response.
161:system. Equalizers are also used in
2006:
1240:
529:designed with a higher Q or finite
449:, such as the bass control on most
24:
2552:
2077:Louie, Gary; White, Glenn (2005).
1958:used the same approach to reduce "
1849:of a room may be analyzed using a
1419:is. Low Q filter responses (where
1124:
635:
25:
3901:
3374:Reel-to-reel audio tape recording
2929:Recording studio as an instrument
2649:PreSonus Equalizer Terms and Tips
2594:Calculator: bandwidth per octave
2576:
1094:A high shelving control in which
228:Later the concept was applied in
101:equipment uses relatively simple
3843:
3105:
2046:PC Recording Studios for Dummies
858:so that frequencies higher than
837:so that frequencies higher than
664:will have a frequency response |
84:sound recording and reproduction
3359:Experimental musical instrument
2532:
2523:
2496:
2464:
2434:
2411:
2386:
2318:
2300:
2282:
2268:
1861:in addition to its use in live
1198:The equalizer-section from the
537:. For instance, a second-order
405:
389:. Most channel equalization on
2348:AES E-Library description page
2246:
2203:
2181:
1701:
1695:
1536:
1530:
1387:{\displaystyle BW\ =\ F_{0}/Q}
1321:Second-order filter responses.
1049:
1027:
1010:
988:
969:
940:
927:
922:
916:
909:
784:
762:
745:
723:
701:
696:
690:
683:
584:lower-frequency components. A
568:High-pass and low-pass filters
176:
13:
1:
3544:Electronic musical instrument
2115:. Bloomsbury Publishing USA.
672:)| whose square is given by:
362:In 1966, Burgess Macneal and
32:Equalization (disambiguation)
3850:Record production portal
3739:Institute of Broadcast Sound
3112:Record production portal
2561:Handbook for Sound Engineers
2255:"Langevin EQ-251A Schematic"
2024:
890:Similarly the response of a
185:The very uneven spectrum of
7:
3759:Musical Electronics Library
3083:Music technology (electric)
2543:Bose 901 Loudspeaker Review
2480:. July 2001. Archived from
2222:Dennis Bohn (August 1997).
1977:
1863:sound reinforcement systems
234:sound reinforcement systems
119:recording and radio studios
10:
3906:
3506:Sound reinforcement system
3415:Sound reinforcement system
2394:"What is a Parametric EQ?"
1950:filter to restore it. The
513:, which is used to remove
313:
29:
3839:
3787:
3729:Audio Engineering Society
3721:
3645:
3627:Software effect processor
3607:Digital audio workstation
3592:
3514:
3456:
3448:Digital signal processing
3433:
3387:
3329:
3271:
3212:Digital audio workstation
3187:
3159:
3101:
3050:
2957:
2896:
2786:
2696:
2360:"Parametric Equalization"
396:digital signal processing
387:Audio Engineering Society
3820:Professional audio store
3722:People and organizations
3708:Sound recording engineer
2165:. Mackie. Archived from
1999:
1930:system (and also to the
1227:live sound reinforcement
1172:live sound reinforcement
624:to direct energy to the
197:(bottom). The resulting
123:production control rooms
3238:Microphone preamplifier
2337:. 42nd AES Convention.
2331:Parametric Equalization
1797:
1281:frequencies, which are
1261:or, in layman's terms,
898:can be represented as:
383:parametric equalization
287:British style equalizer
117:Equalizers are used in
3179:Electronic and digital
2628:
2608:
2472:"Equalisers Explained"
1743:
1563:
1388:
1322:
1298:
1250:
1203:
1163:
1129:
1068:
800:
431:
415:
202:
72:
52:
3000:Ghostwriters in music
2639:EQ Condensed Overview
2629:
2609:
2113:Understanding Records
2111:Hodgson, Jay (2010).
2049:. Wiley. p. 25.
2043:Strong, Jeff (2005).
1989:Loudness compensation
1826:mirrored equalization
1744:
1564:
1389:
1320:
1296:
1248:
1207:Parametric equalizers
1197:
1154:
1128:
1069:
801:
464:), adjustment of the
430:(narrower bandwidth).
421:
413:
184:
131:instrument amplifiers
58:
42:
3637:Software synthesizer
3602:Digital audio editor
3388:Playback transducers
3248:Multitrack recording
2618:
2598:
2509:. World Scientific.
2278:. February 22, 2016.
2080:The Audio Dictionary
1845:. For instance, the
1773:parametric equalizer
1583:
1443:
1348:
1313:Second-order filters
1190:Parametric equalizer
905:
679:
606:high-frequency noise
547:FM stereo subcarrier
371:Daniel N. Flickinger
69:parametric equalizer
18:Parametric equalizer
3890:Tone, EQ and filter
2529:Ballou, pp.875-876.
2484:on December 3, 2013
2444:Electronic Musician
2169:on December 2, 2013
1289:First-order filters
320:acoustic telegraphy
268:recording engineers
256:and high-frequency
127:sound reinforcement
65:electric guitarists
3688:Re-recording mixer
3491:Keyboard amplifier
3207:Binaural recording
2914:Hip hop production
2624:
2614:to quality factor
2604:
2442:"Linear Phase EQ,
2143:on August 20, 2012
1847:frequency response
1843:acoustic dampening
1812:recording engineer
1739:
1559:
1384:
1323:
1299:
1263:frequency response
1251:
1204:
1164:
1130:
1064:
796:
600:or described as a
443:cutoff frequencies
432:
416:
349:Cinema Engineering
343:7080 developed by
264:Graphic equalizers
207:frequency response
203:
143:instrument pickups
73:
67:. This pedal is a
53:
3857:
3856:
3663:Guitar technician
3559:Music workstation
3443:Digital recording
3420:Speaker enclosure
3339:8-track cartridge
3281:Phonograph record
3119:
3118:
2721:Critical distance
2644:Audio EQ Cookbook
2627:{\displaystyle Q}
2607:{\displaystyle N}
2356:George Massenburg
2326:George Massenburg
2122:978-1-4411-5607-5
1984:Electronic filter
1972:RIAA equalization
1932:mid-range speaker
1916:crossover network
1851:spectrum analyzer
1730:
1705:
1682:
1676:
1667:
1659:
1632:
1597:
1591:
1554:
1543:
1500:
1494:
1490:
1471:
1457:
1451:
1365:
1359:
1259:transfer function
1253:The responses of
1160:Power conditioner
1134:graphic equalizer
1121:Graphic equalizer
1059:
794:
647:guitar amplifiers
379:George Massenburg
364:George Massenburg
230:audio engineering
135:guitar amplifiers
49:smiley face curve
45:graphic equalizer
16:(Redirected from
3897:
3848:
3847:
3846:
3734:Goji Electronics
3673:Monitor engineer
3632:Software sampler
3539:Electronic drums
3516:Electronic music
3486:Guitar amplifier
3331:Analog recording
3291:Compact cassette
3253:Music production
3161:Music technology
3153:Music technology
3146:
3139:
3132:
3123:
3122:
3110:
3109:
3108:
3025:Session musician
2690:Music production
2683:
2676:
2669:
2660:
2659:
2633:
2631:
2630:
2625:
2613:
2611:
2610:
2605:
2546:
2536:
2530:
2527:
2521:
2520:
2500:
2494:
2493:
2491:
2489:
2468:
2462:
2461:
2459:
2457:
2452:on July 16, 2015
2448:. Archived from
2438:
2432:
2431:
2415:
2409:
2408:
2406:
2404:
2390:
2384:
2381:
2379:
2377:
2372:on July 14, 2011
2371:
2365:. Archived from
2364:
2345:
2343:
2336:
2322:
2316:
2315:
2314:
2310:
2304:
2298:
2297:
2296:
2292:
2286:
2280:
2279:
2272:
2266:
2265:
2263:
2261:
2250:
2244:
2243:
2241:
2239:
2234:on April 2, 2014
2230:. Archived from
2228:Rane Corporation
2219:
2210:
2207:
2201:
2200:
2199:
2197:
2185:
2179:
2178:
2176:
2174:
2159:
2153:
2152:
2150:
2148:
2133:
2127:
2126:
2108:
2095:
2094:
2074:
2061:
2060:
2040:
2018:
2015:
1994:Weighting filter
1936:bi-amplification
1859:recording studio
1828:
1827:
1748:
1746:
1745:
1740:
1735:
1731:
1729:
1718:
1706:
1704:
1684:
1680:
1674:
1673:
1669:
1668:
1660:
1658:
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1640:
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1633:
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1620:
1610:
1609:
1595:
1589:
1568:
1566:
1565:
1560:
1555:
1553:
1552:
1548:
1544:
1539:
1522:
1502:
1498:
1492:
1491:
1489:
1482:
1481:
1470:
1469:
1460:
1459:
1455:
1449:
1432:
1431:
1427:
1393:
1391:
1390:
1385:
1380:
1375:
1374:
1363:
1357:
1241:Filter functions
1215:center frequency
1073:
1071:
1070:
1065:
1060:
1058:
1057:
1056:
1047:
1046:
1037:
1019:
1018:
1017:
1008:
1007:
998:
980:
977:
976:
967:
966:
957:
952:
951:
936:
935:
930:
912:
805:
803:
802:
797:
795:
793:
792:
791:
782:
781:
772:
754:
753:
752:
743:
742:
733:
715:
710:
709:
704:
686:
622:audio crossovers
574:high-pass filter
535:cutoff frequency
507:high-pass filter
478:quasi-parametric
242:Audio amplifiers
163:music production
21:
3905:
3904:
3900:
3899:
3898:
3896:
3895:
3894:
3885:Sound recording
3860:
3859:
3858:
3853:
3844:
3842:
3835:
3783:
3717:
3683:Record producer
3668:Mixing engineer
3641:
3588:
3554:MIDI controller
3529:Circuit bending
3510:
3452:
3429:
3405:Monitor speaker
3383:
3325:
3273:Recording media
3267:
3258:Music sequencer
3243:Monitor speaker
3189:Sound recording
3183:
3155:
3150:
3120:
3115:
3106:
3104:
3097:
3046:
3015:Record producer
2968:
2964:
2953:
2907:
2903:
2892:
2833:Double tracking
2789:
2782:
2773:Sound recording
2711:Audio mastering
2692:
2687:
2619:
2616:
2615:
2599:
2596:
2595:
2579:
2574:
2555:
2553:General sources
2550:
2549:
2537:
2533:
2528:
2524:
2517:
2501:
2497:
2487:
2485:
2470:
2469:
2465:
2455:
2453:
2440:
2439:
2435:
2416:
2412:
2402:
2400:
2392:
2391:
2387:
2375:
2373:
2369:
2362:
2353:Author's copy:
2341:
2334:
2323:
2319:
2312:
2306:
2305:
2301:
2294:
2288:
2287:
2283:
2274:
2273:
2269:
2259:
2257:
2251:
2247:
2237:
2235:
2220:
2213:
2208:
2204:
2195:
2193:
2187:
2186:
2182:
2172:
2170:
2161:
2160:
2156:
2146:
2144:
2135:
2134:
2130:
2123:
2109:
2098:
2091:
2075:
2064:
2057:
2041:
2032:
2027:
2022:
2021:
2016:
2007:
2002:
1980:
1968:phono cartridge
1825:
1824:
1804:sound recording
1800:
1781:
1766:
1722:
1717:
1713:
1688:
1683:
1652:
1648:
1644:
1639:
1637:
1624:
1619:
1618:
1614:
1605:
1601:
1584:
1581:
1580:
1523:
1521:
1520:
1516:
1506:
1501:
1477:
1473:
1472:
1465:
1461:
1458:
1444:
1441:
1440:
1429:
1425:
1424:
1418:
1403:
1376:
1370:
1366:
1349:
1346:
1345:
1341:, is given by:
1315:
1291:
1283:complex numbers
1243:
1192:
1123:
1106:
1099:
1089:
1082:
1052:
1048:
1042:
1038:
1033:
1020:
1013:
1009:
1003:
999:
994:
981:
979:
972:
968:
962:
958:
953:
947:
943:
931:
926:
925:
908:
906:
903:
902:
877:
870:
863:
856:
849:
842:
835:
828:
821:
814:
787:
783:
777:
773:
768:
755:
748:
744:
738:
734:
729:
716:
714:
705:
700:
699:
682:
680:
677:
676:
651:bass amplifiers
638:
636:Shelving filter
626:speaker drivers
616:, to eliminate
586:low-pass filter
570:
543:notch frequency
519:low-pass filter
489:frequency bands
485:bank of filters
474:semi-parametric
408:
391:mixing consoles
316:
291:mixing consoles
215:passive filters
211:telephone lines
179:
157:(howling) in a
35:
28:
23:
22:
15:
12:
11:
5:
3903:
3893:
3892:
3887:
3882:
3880:Linear filters
3877:
3872:
3855:
3854:
3840:
3837:
3836:
3834:
3833:
3828:
3822:
3817:
3812:
3807:
3802:
3797:
3791:
3789:
3788:Related topics
3785:
3784:
3782:
3781:
3776:
3771:
3766:
3761:
3756:
3751:
3746:
3744:Lejaren Hiller
3741:
3736:
3731:
3725:
3723:
3719:
3718:
3716:
3715:
3710:
3705:
3703:Sound operator
3700:
3698:Sound follower
3695:
3693:Sound designer
3690:
3685:
3680:
3675:
3670:
3665:
3660:
3655:
3653:Audio engineer
3649:
3647:
3643:
3642:
3640:
3639:
3634:
3629:
3624:
3619:
3614:
3609:
3604:
3598:
3596:
3590:
3589:
3587:
3586:
3581:
3576:
3571:
3566:
3561:
3556:
3551:
3546:
3541:
3536:
3531:
3526:
3520:
3518:
3512:
3511:
3509:
3508:
3503:
3498:
3493:
3488:
3483:
3478:
3473:
3471:Bass amplifier
3468:
3466:Mixing console
3462:
3460:
3454:
3453:
3451:
3450:
3445:
3439:
3437:
3431:
3430:
3428:
3427:
3422:
3417:
3412:
3407:
3402:
3397:
3391:
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3333:
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3313:
3308:
3303:
3298:
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3255:
3250:
3245:
3240:
3235:
3230:
3225:
3220:
3215:
3209:
3204:
3202:Mixing console
3199:
3193:
3191:
3185:
3184:
3182:
3181:
3176:
3171:
3165:
3163:
3157:
3156:
3149:
3148:
3141:
3134:
3126:
3117:
3116:
3102:
3099:
3098:
3096:
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3090:
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3060:
3054:
3052:
3048:
3047:
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3044:
3039:
3038:
3037:
3027:
3022:
3020:Rhythm section
3017:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2980:Audio engineer
2977:
2971:
2969:
2967:
2966:
2962:
2958:
2955:
2954:
2952:
2951:
2946:
2941:
2936:
2931:
2926:
2924:Overproduction
2921:
2916:
2910:
2908:
2906:
2905:
2901:
2897:
2894:
2893:
2891:
2890:
2885:
2880:
2875:
2870:
2865:
2860:
2855:
2853:Exciter effect
2850:
2845:
2840:
2830:
2825:
2815:
2810:
2805:
2800:
2794:
2792:
2784:
2783:
2781:
2780:
2775:
2770:
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2755:
2750:
2745:
2744:
2743:
2738:
2728:
2723:
2718:
2713:
2708:
2702:
2700:
2694:
2693:
2686:
2685:
2678:
2671:
2663:
2657:
2656:
2651:
2646:
2641:
2636:
2623:
2603:
2591:
2586:
2578:
2577:External links
2575:
2573:
2572:
2556:
2554:
2551:
2548:
2547:
2531:
2522:
2515:
2495:
2477:Sound on Sound
2463:
2433:
2410:
2385:
2383:
2382:
2317:
2299:
2281:
2267:
2245:
2211:
2202:
2180:
2154:
2128:
2121:
2096:
2089:
2062:
2055:
2029:
2028:
2026:
2023:
2020:
2019:
2004:
2003:
2001:
1998:
1997:
1996:
1991:
1986:
1979:
1976:
1956:Tape recorders
1865:and even home
1839:standing waves
1799:
1796:
1779:
1764:
1750:
1749:
1738:
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1728:
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1379:
1373:
1369:
1362:
1356:
1353:
1314:
1311:
1290:
1287:
1269:responses and
1255:linear filters
1242:
1239:
1191:
1188:
1122:
1119:
1104:
1097:
1087:
1080:
1075:
1074:
1063:
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1002:
997:
993:
990:
987:
984:
975:
971:
965:
961:
956:
950:
946:
942:
939:
934:
929:
924:
921:
918:
915:
911:
875:
868:
861:
854:
851:and decreases
847:
840:
833:
830:and decreases
826:
819:
812:
807:
806:
790:
786:
780:
776:
771:
767:
764:
761:
758:
751:
747:
741:
737:
732:
728:
725:
722:
719:
713:
708:
703:
698:
695:
692:
689:
685:
662:treble control
637:
634:
569:
566:
539:low-pass notch
436:linear filters
407:
404:
315:
312:
276:linear filters
260:respectively.
178:
175:
165:to adjust the
159:public address
151:hall acoustics
26:
9:
6:
4:
3:
2:
3902:
3891:
3888:
3886:
3883:
3881:
3878:
3876:
3875:Effects units
3873:
3871:
3870:Audio effects
3868:
3867:
3865:
3852:
3851:
3838:
3832:
3831:Vehicle audio
3829:
3826:
3823:
3821:
3818:
3816:
3813:
3811:
3808:
3806:
3803:
3801:
3800:High fidelity
3798:
3796:
3793:
3792:
3790:
3786:
3780:
3777:
3775:
3772:
3770:
3767:
3765:
3762:
3760:
3757:
3755:
3752:
3750:
3747:
3745:
3742:
3740:
3737:
3735:
3732:
3730:
3727:
3726:
3724:
3720:
3714:
3711:
3709:
3706:
3704:
3701:
3699:
3696:
3694:
3691:
3689:
3686:
3684:
3681:
3679:
3676:
3674:
3671:
3669:
3666:
3664:
3661:
3659:
3656:
3654:
3651:
3650:
3648:
3644:
3638:
3635:
3633:
3630:
3628:
3625:
3623:
3620:
3618:
3615:
3613:
3610:
3608:
3605:
3603:
3600:
3599:
3597:
3595:
3591:
3585:
3582:
3580:
3577:
3575:
3572:
3570:
3567:
3565:
3562:
3560:
3557:
3555:
3552:
3550:
3547:
3545:
3542:
3540:
3537:
3535:
3532:
3530:
3527:
3525:
3522:
3521:
3519:
3517:
3513:
3507:
3504:
3502:
3499:
3497:
3494:
3492:
3489:
3487:
3484:
3482:
3479:
3477:
3474:
3472:
3469:
3467:
3464:
3463:
3461:
3459:
3455:
3449:
3446:
3444:
3441:
3440:
3438:
3436:
3435:Digital audio
3432:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3392:
3390:
3386:
3380:
3379:Tape recorder
3377:
3375:
3372:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3349:Cassette deck
3347:
3345:
3342:
3340:
3337:
3336:
3334:
3332:
3328:
3322:
3319:
3317:
3314:
3312:
3309:
3307:
3304:
3302:
3299:
3297:
3294:
3292:
3289:
3287:
3286:Magnetic tape
3284:
3282:
3279:
3278:
3276:
3274:
3270:
3264:
3263:Outboard gear
3261:
3259:
3256:
3254:
3251:
3249:
3246:
3244:
3241:
3239:
3236:
3234:
3231:
3229:
3226:
3224:
3221:
3219:
3216:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3197:Audio channel
3195:
3194:
3192:
3190:
3186:
3180:
3177:
3175:
3172:
3170:
3167:
3166:
3164:
3162:
3158:
3154:
3147:
3142:
3140:
3135:
3133:
3128:
3127:
3124:
3114:
3113:
3100:
3094:
3091:
3089:
3086:
3084:
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3063:Interpolation
3061:
3059:
3056:
3055:
3053:
3049:
3043:
3040:
3036:
3033:
3032:
3031:
3030:Backup singer
3028:
3026:
3023:
3021:
3018:
3016:
3013:
3011:
3008:
3006:
3003:
3001:
2998:
2996:
2993:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2972:
2970:
2963:
2960:
2959:
2956:
2950:
2947:
2945:
2944:Wall of Sound
2942:
2940:
2937:
2935:
2932:
2930:
2927:
2925:
2922:
2920:
2917:
2915:
2912:
2911:
2909:
2902:
2899:
2898:
2895:
2889:
2886:
2884:
2881:
2879:
2876:
2874:
2871:
2869:
2866:
2864:
2863:Octave effect
2861:
2859:
2856:
2854:
2851:
2849:
2846:
2844:
2841:
2838:
2834:
2831:
2829:
2826:
2823:
2819:
2816:
2814:
2811:
2809:
2808:Chorus effect
2806:
2804:
2801:
2799:
2796:
2795:
2793:
2791:
2785:
2779:
2776:
2774:
2771:
2769:
2766:
2764:
2761:
2759:
2756:
2754:
2751:
2749:
2746:
2742:
2741:Wah-wah pedal
2739:
2737:
2734:
2733:
2732:
2729:
2727:
2724:
2722:
2719:
2717:
2714:
2712:
2709:
2707:
2704:
2703:
2701:
2699:
2695:
2691:
2684:
2679:
2677:
2672:
2670:
2665:
2664:
2661:
2655:
2652:
2650:
2647:
2645:
2642:
2640:
2637:
2635:
2621:
2601:
2592:
2590:
2587:
2585:
2584:Audacity Wiki
2581:
2580:
2570:
2569:0-240-80969-6
2566:
2562:
2558:
2557:
2544:
2540:
2535:
2526:
2518:
2516:9789812700773
2512:
2508:
2507:
2499:
2483:
2479:
2478:
2473:
2467:
2451:
2447:
2445:
2437:
2430:(11): 842–848
2429:
2425:
2421:
2414:
2399:
2395:
2389:
2368:
2361:
2357:
2352:
2351:
2349:
2340:
2333:
2332:
2327:
2321:
2309:
2303:
2291:
2285:
2277:
2271:
2256:
2249:
2233:
2229:
2225:
2218:
2216:
2206:
2192:
2191:
2184:
2168:
2164:
2158:
2142:
2138:
2132:
2124:
2118:
2114:
2107:
2105:
2103:
2101:
2092:
2090:9780295984988
2086:
2082:
2081:
2073:
2071:
2069:
2067:
2058:
2056:9780764577079
2052:
2048:
2047:
2039:
2037:
2035:
2030:
2014:
2012:
2010:
2005:
1995:
1992:
1990:
1987:
1985:
1982:
1981:
1975:
1973:
1969:
1965:
1964:vinyl records
1961:
1957:
1953:
1949:
1945:
1939:
1937:
1933:
1929:
1928:2-way speaker
1925:
1921:
1917:
1912:
1910:
1909:human hearing
1905:
1902:
1898:
1897:Tone controls
1894:
1890:
1888:
1883:
1879:
1875:
1870:
1868:
1864:
1860:
1856:
1852:
1848:
1844:
1840:
1836:
1831:
1829:
1820:
1815:
1813:
1809:
1805:
1795:
1793:
1787:
1785:
1778:
1774:
1770:
1763:
1759:
1755:
1736:
1732:
1726:
1723:
1719:
1714:
1710:
1707:
1698:
1692:
1689:
1685:
1677:
1670:
1664:
1661:
1653:
1649:
1645:
1641:
1634:
1628:
1625:
1621:
1615:
1611:
1606:
1602:
1598:
1592:
1586:
1579:
1578:
1577:
1575:
1556:
1549:
1545:
1540:
1533:
1527:
1524:
1517:
1513:
1510:
1507:
1503:
1495:
1486:
1483:
1478:
1474:
1466:
1462:
1452:
1446:
1439:
1438:
1437:
1434:
1422:
1415:
1411:
1407:
1400:
1381:
1377:
1371:
1367:
1360:
1354:
1351:
1344:
1343:
1342:
1340:
1336:
1332:
1328:
1319:
1310:
1308:
1304:
1295:
1286:
1284:
1280:
1276:
1272:
1268:
1264:
1260:
1256:
1247:
1238:
1234:
1232:
1231:outboard gear
1228:
1224:
1220:
1216:
1212:
1208:
1201:
1196:
1187:
1185:
1181:
1177:
1173:
1169:
1161:
1157:
1153:
1149:
1147:
1143:
1139:
1135:
1127:
1118:
1116:
1112:
1107:
1100:
1092:
1090:
1083:
1061:
1053:
1043:
1039:
1034:
1030:
1024:
1021:
1014:
1004:
1000:
995:
991:
985:
982:
973:
963:
959:
954:
948:
944:
937:
932:
919:
913:
901:
900:
899:
897:
893:
888:
886:
882:
878:
871:
864:
857:
850:
843:
836:
829:
822:
815:
788:
778:
774:
769:
765:
759:
756:
749:
739:
735:
730:
726:
720:
717:
711:
706:
693:
687:
675:
674:
673:
671:
667:
663:
659:
654:
652:
648:
644:
643:tone controls
633:
631:
627:
623:
619:
615:
614:rumble filter
611:
607:
603:
599:
595:
591:
587:
583:
579:
575:
565:
562:
557:
555:
554:demultiplexer
551:
548:
544:
540:
536:
532:
526:
524:
520:
516:
512:
511:rumble filter
508:
504:
500:
498:
494:
490:
486:
481:
479:
475:
471:
467:
463:
458:
456:
452:
448:
444:
439:
437:
429:
425:
424:linear filter
422:Second-order
420:
412:
403:
401:
400:outboard gear
397:
392:
388:
384:
380:
375:
372:
368:
365:
360:
358:
357:Altec Lansing
354:
350:
346:
341:
336:
334:
330:
325:
321:
311:
309:
305:
300:
296:
292:
288:
284:
279:
277:
273:
269:
265:
261:
259:
255:
251:
247:
243:
239:
235:
231:
226:
224:
220:
216:
212:
208:
200:
196:
192:
188:
183:
174:
172:
168:
164:
160:
156:
152:
148:
144:
140:
136:
132:
128:
124:
120:
115:
112:
108:
104:
100:
95:
93:
89:
85:
81:
77:
70:
66:
62:
57:
50:
46:
41:
37:
33:
19:
3841:
3574:Sound module
3534:Drum machine
3476:Effects unit
3369:Player piano
3296:Compact disc
3222:
3218:Effects unit
3103:
3068:Loudness war
3035:Ghost singer
3010:Orchestrator
3005:Horn section
2888:Reverse echo
2848:Equalization
2847:
2818:Delay effect
2768:Punch in/out
2763:Ping-ponging
2731:Effects unit
2726:Effects loop
2716:Audio mixing
2706:Audio filter
2560:
2534:
2525:
2505:
2498:
2488:November 25,
2486:. Retrieved
2482:the original
2475:
2466:
2454:. Retrieved
2450:the original
2443:
2436:
2427:
2423:
2413:
2403:February 17,
2401:. Retrieved
2388:
2374:. Retrieved
2367:the original
2358:(May 1972).
2330:
2328:(May 1972).
2320:
2302:
2284:
2270:
2260:November 25,
2258:. Retrieved
2253:Rick Chinn.
2248:
2238:November 25,
2236:. Retrieved
2232:the original
2205:
2194:, retrieved
2189:
2183:
2173:November 25,
2171:. Retrieved
2167:the original
2157:
2147:November 25,
2145:. Retrieved
2141:the original
2137:"British EQ"
2131:
2112:
2079:
2045:
1944:pre-emphasis
1940:
1913:
1906:
1895:
1891:
1887:notch filter
1871:
1832:
1823:
1818:
1816:
1807:
1801:
1788:
1776:
1761:
1753:
1751:
1573:
1571:
1435:
1420:
1413:
1409:
1398:
1396:
1338:
1324:
1300:
1271:second-order
1270:
1266:
1252:
1235:
1206:
1205:
1180:third-octave
1179:
1165:
1145:
1141:
1133:
1131:
1102:
1095:
1093:
1085:
1078:
1076:
896:bass control
895:
891:
889:
884:
880:
873:
866:
859:
852:
845:
838:
831:
824:
817:
810:
808:
669:
665:
661:
657:
655:
639:
613:
604:(hiss being
601:
597:
593:
589:
571:
558:
550:pilot signal
542:
538:
527:
503:Equalization
502:
501:
496:
482:
477:
473:
459:
454:
446:
440:
433:
406:Filter types
382:
376:
369:
361:
337:
329:John Volkman
324:multiplexing
317:
286:
282:
280:
272:equalization
271:
262:
257:
253:
227:
223:equalization
222:
219:transmission
204:
198:
190:
147:loudspeakers
116:
96:
91:
88:audio signal
79:
78:, or simply
76:Equalization
75:
74:
61:effect units
36:
3815:Music store
3810:Home cinema
3769:Robert Moog
3754:Max Mathews
3678:Piano tuner
3646:Professions
3622:Scorewriter
3579:Synthesizer
3395:Loudspeaker
3058:Click track
3042:Vocal coach
2985:Backup band
2965:professions
2939:Turntablism
2813:Compression
2798:Pitch shift
2758:Overdubbing
2698:Engineering
2539:Stereophile
1952:white noise
1948:de-emphasis
1792:filter bank
1267:first-order
602:hiss filter
578:frequencies
523:hiss filter
331:working at
187:white noise
177:Terminology
139:microphones
125:, and live
63:for use by
3864:Categories
3805:Home audio
3795:Audiophile
3612:GarageBand
3458:Live music
3400:Headphones
3364:Phonograph
3233:Microphone
3228:Headphones
3174:Electrical
3169:Mechanical
2990:Bandleader
2949:Xenochrony
2904:aesthetics
2868:Noise gate
2828:Distortion
2790:processing
2753:Microphone
2541:magazine,
2308:US 3752928
2290:US 3727896
1855:pink noise
1176:room modes
658:high shelf
618:infrasonic
610:phonograph
608:). In the
582:attenuates
515:infrasonic
455:high shelf
299:Soundcraft
283:British EQ
238:microphone
133:, such as
3569:Sequencer
3496:PA system
3425:Subwoofer
3410:PA system
3344:Amplifier
3306:Hard disk
3223:Equalizer
2900:Practices
2803:Auto-Tune
2778:Tape loop
2748:Diffusion
2376:April 23,
2025:Citations
1960:tape hiss
1869:systems.
1835:acoustics
1711:
1693:
1612:
1528:
1514:
1484:−
1327:resonance
1219:bandwidth
1211:amplitude
1168:car audio
1111:bass amps
892:low shelf
879:so that |
630:subwoofer
580:well but
470:bandwidth
447:low shelf
345:Art Davis
304:Behringer
191:equalized
92:equalizer
43:A stereo
3617:ProTools
3594:Software
3584:Theremin
3524:Chiptune
3481:Foldback
3311:MiniDisc
2975:Arranger
2934:Sampling
2858:Flanging
2736:Talk box
2634:and back
2456:July 15,
2398:PreSonus
2339:Archived
2196:March 3,
1978:See also
1878:feedback
1758:resonant
1406:resonant
1335:resonant
1115:DI boxes
872: =
598:high cut
594:high cut
493:Q factor
340:Langevin
193:using a
155:feedback
105:to make
3713:Tape op
3564:Sampler
2878:Pumping
2843:Ducking
2788:Signal
2545:, 1995.
1974:curve.
1924:tweeter
1874:speaker
1808:unequal
1428:⁄
1404:is the
1233:units.
1200:Audient
1138:filters
1132:In the
590:low cut
314:History
129:and in
103:filters
3827:(NIME)
3501:Reverb
3078:Medley
3073:Mashup
2883:Reverb
2873:Phaser
2567:
2513:
2313:
2295:
2119:
2087:
2053:
1920:woofer
1853:and a
1708:arsinh
1681:
1675:
1596:
1590:
1572:where
1499:
1493:
1456:
1450:
1397:where
1364:
1358:
1307:octave
1184:octave
809:where
561:phases
308:Mackie
254:rumble
250:treble
213:using
167:timbre
149:, and
111:treble
3779:STEIM
3774:SMPTE
3749:IRCAM
3214:(DAW)
3093:Remix
3051:Other
2961:Roles
2919:Lo-fi
2822:STEED
2370:(PDF)
2363:(PDF)
2342:(PDF)
2335:(PDF)
2000:Notes
1926:of a
1901:hi-fi
1867:hi-fi
1819:depth
1769:zeros
1423:<
1146:graph
531:zeros
497:graph
451:hi-fi
99:hi-fi
97:Most
82:, in
3549:MIDI
3321:Opus
2565:ISBN
2511:ISBN
2490:2013
2458:2015
2405:2024
2378:2011
2262:2013
2240:2013
2198:2016
2175:2013
2149:2013
2117:ISBN
2085:ISBN
2051:ISBN
1922:and
1882:gain
1841:and
1798:Uses
1511:sinh
1305:per
1279:zero
1277:and
1275:pole
1217:and
1156:UREI
1142:band
1113:and
816:and
649:and
592:and
445:. A
338:The
322:and
306:and
297:and
295:Neve
258:hiss
248:and
246:bass
199:flat
109:and
107:bass
3316:MP3
3301:DAT
2837:ADT
1802:In
1603:log
1084:or
894:or
660:or
347:'s
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