After last week’s toe-dipping into the theoretical design of equalizers, let’s get serious and look at how decisions regarding their real-life implementation affect the outcome.
Equalizers are probably some of the simplest tools for audio and music production, at least at the surface. Their purpose is clear, and the process of boosting or cutting certain frequency ranges is a comparably clean and easily understandable one. Yet there are vast differences among different equalizer models in both sound and usability. But what exactly are these?
From time to time I like to step back a bit from the explanation and demystification business and put on the wide angle lens. There are two different approaches towards working with audio that I regularly observe with myself and others. Let’s think about how they relate to each other and to what happens on this site.
Intersample peaks are one of those scary phenomena in audio that have been overlooked for a long time, until the awareness about the issue started to spread around the turn of the century. But what if there’s even worse issues with heavily compressed and limited music?