Hmm, I have to admit not knowing what an "x-band" equalizer is.
Unless the x means variable center freq, in which case that sounds
pretty much like para. (I thought X Band was a ShortWave freq ;-).
Coming up, the two types of EQ I learned were graphic and parametric.
On a P/EQ, center freq, Q and gain are all variable. On most G/EQ
I've worked with you only have gain for each band. Perhaps there are
G/EQs with variable Q.
Ken
--- In "Romilly Hambling"
<> wrote:
>
> Thanks for those suggestions, though before trying I'll have to
> ask what a parametric eq (plug) is if it's not an x-band equaliser.
>
> I should add that the original recordings are really very nice.
> There's almost no apparent input from the room, and certainly no
> stridency. The singer is about 4 ft from her mic, and the other mic
> is 7-8ft from the midpoint of the piano frame at the keyboard end
> (main part of piano lid is shut with just the end flap open). So the
> problem is that it's like recording a bird fairly close - you just get
> the voice with little or no supporting ambience - and this singer
> would like her voice cushioned with a little ambience as the
> human singing voice is best heard like some birds' voices . . .
> with echo or resonance! The piano's fine as it's mostly gentle
> mushy stuff, a sort of running colour wash of sound, that only the
> french can do!
>
> So it's the filters that are damaging what start off as very pleasing
> recordings. I have to say they (filters) are impressive though! We
> were expecting some small-room ambience to remain, but it
> doesn't happen that way. It's as if the walls of the room
> disappear to be replaced altogether by a much larger space. It's
> the nature of that larger space that we want to change. I suppose
> it needs damping, softening, hence the remark about the effect
> of bodies.
>
> Anyway, we'll give Mark and Rob's suggestions a good tryout.
>
> Romilly Hambling
>
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