In Parametric EQ, you can enable a couple of bands, switch one to high pass and the other to high shelf, and dial in settings to suit. ![]() ![]() For that, a gentle high‑pass filter and a high‑shelf boost will do the trick nicely. That's particularly true for acoustic guitar, when, for the sake of the overall mix, you'll often want to remove low, bloomy stuff and add a bit of top 'air'. By default, though, going for the 'graph' rather than the parameters will nearly always end up generating peak‑type curves when shelf types or low‑ and high‑pass filters might be a better choice. But there are several DP‑specific things that are worth thinking about.Įqualisation: Both of DP's bundled EQs (and plenty of third‑party offerings) offer the typical 'click and drag' control of EQ bands. Plenty of great advice has been dished out over the years in the pages of Sound On Sound regarding mic choice, positioning and treatments for acoustic guitar, so I'm not going to duplicate any of that here. Between them, they should cover a wide variety of guitar‑recording situations. So there are lots of possibilities and permutations, which might even be combined in one way or another, so I'm going to focus on some specific techniques in this month's column. You might then choose to treat the virtual instrument's output with the same processing as you would a real guitar.
0 Comments
Leave a Reply. |