奇妙 2020年11月2日| 89兆字节
均衡器设计/拓扑的各种类型是什么？它们之间的区别是什么，以及如何以及何时使用它们。
主动，被动，图形，参数，固定和峰值等式是一个视频教程，介绍了均衡器拓扑之间以及各种均衡器拓扑之间的区别。
在音乐制作中，我们很幸运能够提供这么多工具，而在均衡领域，我们实际上有很多选择。理解为任何给定任务使用哪个均衡器是为手头任务选择正确均衡器的第一步。均衡器拓扑的类型太多，因此不可能在此处列出所有拓扑，也无法提供有关它们如何工作的详细说明。但是，我确保包括最常见的类型。
被动情商
这些类型的均衡器的设计极为简单，更重要的是，它们不能提高频率，只能降低频率。实际上，他们的工作方式与感知能力息息相关。通过削减低频（低音），它们使中高频听起来“更大声”。
被动均衡器确实有其用途。尽管它们不灵活，但它们可以很好地执行还原（剪切或衰减）任务。然而，就其本质而言，无源均衡器或滤波器必须增强信号以补偿截止。这本身将噪声引入信号路径，该噪声来自用于增强信号的放大器。
在电路方面，无源均衡器将均衡电路放置在固定增益放大器之前或之后-在这种情况下，放大器弥补了EQ电路中的固有损耗，有效地提高了尚未达到的频率范围切。
有源均衡器
由于无源均衡器的局限性，大多数均衡器都是围绕有源滤波器电路构建的，该滤波器电路使用频率选择组件以及一个低噪声放大器。
固定频率均衡器
很明显，此均衡器允许削减/增强一个或多个频率。对常规组件（如带宽，Q等）没有其他控制。
峰值均衡器
峰值均衡器是一种增强特定频段的均衡器。
搁架式过滤器具有类似架子的曲线，而该过滤器具有钟形曲线。Q设置确定钟形的宽度，而增强或剪切确定钟形的高度或深度。
搁架滤波器/ EQ
低通搁架滤波器使低于其截止频率的所有频率通过，但衰减高于其截止频率的所有频率。同样，高通滤波器会使高于其截止频率的所有频率通过，但会影响低于其截止频率的所有频率。
这是活动均衡器的最简单类型。此均衡器可以通过多种方式调整响应：增强/降低低频，增强/降低高频。
滤波器斜率通常为每倍频程6 dB。这样可以产生柔和的效果。形状为架子状，因此增强或剪切在一定范围内是渐进的。滤波器在一个频率上没有无效，然后立即跳下，并突然在下一个频率上重新出现。他们必须以某种方式到达那里。他们到达那里的方式和程度称为梯度或斜率。对于搁架滤波器，最常见的斜率是每倍频程6 dB增益变化（频率的两倍）。滤波器衰减频率所花费的时间与截止点之间的距离成正比。这是斜坡。
搁架滤波器通常设计为在搁架频率之外应用相等的增益变化，并具有用于选择搁架，切割和增强的控件。
图形均衡器
图形均衡器只是一组滤波器，每个滤波器的中心频率都是固定的，无法更改。
您唯一拥有的控制是增强切割的数量或每个频带中的增强。这种提升或削减通常是由滑块控制的。滑块是频率响应的图形表示，因此称为“图形”均衡器。您拥有的频带越多，对频率响应的控制和准确性就越高。
图形均衡器使用一组带通滤波器，这些滤波器设计为完全隔离某些频带。
带通滤波器
在两个极限之间通过频率的滤波器称为带通滤波器。
这是一个很好的过滤器。它会衰减低于和高于截止频率的频率，并使频率保持在截止频率。实际上，它是一个低通和一个高通。关于此滤波器的一个很酷的事情是，您可以消除较低和较高的频率，并留下可以隔离处理的频带。
陷波滤波器–也称为带阻滤波器，
它与带通滤波器完全相反。它允许低于和高于截止频率的频率，并衰减截止点附近的频率。
参数化
该过滤器由乔治·马森伯格（George Massenberg）发明，是当今最常用的过滤器之一。
该滤波器控制三个参数，即频率，带宽和增益。您可以选择要增强或降低的频率范围，选择该范围的宽度，然后使用增益在选定带宽内以选定量增强或降低频率。
不在带宽中的频率不会改变。如果将带宽扩展到上限和下限频率范围，则称为搁架。大多数参数滤波器具有搁置参数。
准参数均衡器
这只是参数均衡器的另一种形式，但没有带宽控制。
扫频均衡
器与带通滤波器非常相似，但中心频率可变，无法控制滤波器响应（Q）的宽度。
参数均衡
图形均衡器的另一个变体。此均衡器可控制每个频带的中心频率。
此均衡器也被视为图形均衡器和参数均衡器之间的交叉点，它提供了多个参数峰值滤波器，其中每个增益都在滑块上提供，就像图形均衡器一样。
在“主动，被动，图形，参数，固定和峰值等式”视频中，我介绍了所有最常见的过滤器类型，并解释了每种类型的工作原理。我向您展示了如何使用各种过滤器类型创建不同的EQ响应。主动和被动EQ类型均已详细介绍，我将向您展示如何使用数字均衡器创建各种滤波器类型。
该视频中使用的插件：
- 斯坦伯格GEQ-30图形均衡器
- Nugen SEQ-S
- FabFilter Pro Q2
- Softube Tube-Tech ME 1B
- Softube Tube-Tech PE 1C
- Softube被动均衡器
- Softube主动均衡器
- PSP NobleQ
- Softube Summit音频EQF-100
- SSL X-EQ
该视频涵盖的主题是：
- 主动，被动，图形，参数，固定和峰值等式
- 主动与被动之间的差异
- 如何使用图形和峰值均衡器
- 什么是货架和斜坡
- 带宽（Q）和共振
- 匹配坡度
- 线性相位与最小相位
- 筛选器
- 全频均衡器
- 技巧和窍门
FANTASTiC | 02 November 2020 | 89 MB
What are the various types of equaliser designs/topologies what are the differences between them, and how and when to use them.
Active, Passive, Graphic, Parametric, Fixed and Peaking Eqs is a video tutorial that explains the differences between and the various equaliser topologies.
In music production, we are pretty lucky to have so many tools available to us and in the area of equalisation we are actually spoilt for choice. Understanding which equaliser to use for any given task is the first battle in selecting the right equaliser for the task in hand. There are so many types of equaliser topologies that it would be impossible to list them all here and offer detailed explanations as to how they work. However, I have made sure to include the most common types.
Passive EQs
These types of EQs have the distinction of being extremely simple in design and, more importantly, they cannot boost frequencies, only cut. The way they work is actually very much to do with perception. By cutting, for example, low frequencies (bass), they make the mid and high frequencies sound ‘louder’.
Passive EQs do have their uses. Although they are inflexible, they can perform reduction (cut or attenuation) tasks reasonably well. However, by their very nature, passive EQs, or filters, have to then have the signal boosted to compensate for the cut. This, in itself, introduces noise into the signal path, the noise coming from the amp used to boost the signal.
In terms of circuitry, passive equalisers place the equalisation circuits either before or after a fixed-gain amplifier – in which case the amp makes up for the inherent loss in the EQ circuit, effectively boosting the frequency range(s) that haven’t been cut.
Active EQs
Because of the limitations of passive EQs, most EQs are built around active filter circuits that use frequency selective components, together with a low noise amplifier.
Fixed Frequency EQ
Pretty self-explanatory, this EQ allows cut/boost of one or more frequencies. There are no additional controls over the usual components, like bandwidth, Q, etc.
Peaking EQ
A peaking EQ is an EQ that boosts a specific band of frequencies.
Whereas a shelving filter has a shelf like curve, this filter has a bell-shaped curve. The Q setting determines the width of the bell, while boost or cut determines the height or depth of the bell.
Shelving Filter/EQ
A low-pass shelving filter passes all frequencies below its cut-off frequency but attenuates all frequencies above its cut-off frequency. Similarly, a high-pass filter passes all frequencies above its cut-off frequency but affects all frequencies below its cut-off frequency.
This is the simplest type of active EQ. This EQ can shape response in a number of ways: boost/cut low frequencies, boost/cut high frequencies.
It is also common for the filter slope to be 6 dB per octave. This allows for a gentler effect. The shape is shelf-like, so the boost or cut is progressive over a range. Filters do not have a no-effect at a frequency and then instantly jump and suddenly reappear at the next frequency. They have to get there somehow. The way, and by how much, they get there is called the gradient or slope. In the case of the shelving filter, the most common slope is 6 dB gain change per octave (doubling of the frequency). It takes time for the filter to attenuate frequencies, in proportion to the distance from the cut-off point. This is the slope.
Shelving filters are generally designed to apply equal gain changes beyond the shelving frequency and have controls for selecting the shelf, cut and boost.
Graphic EQ
A graphic equalizer is simply a set of filters, each with a fixed center frequency that cannot be changed.
The only control you have is the amount of boost cut or in each frequency band. This boost or cut is most often controlled with sliders. The sliders are a graphic representation of the frequency response, hence the name ‘graphic’ equalizer. The more frequency bands you have, the more control and accuracy you have over the frequency response.
A graphic equalizer uses a set of band-pass filters that are designed to completely isolate certain frequency bands.
Band-pass Filter
A filter that passes frequencies between two limits is known as a band-pass filter.
This is a great filter. It attenuates frequencies below and above the cut-off and leaves the frequencies at the cut-off. It is, in effect, a low-pass and a hi-pass together. The cool thing about this filter is that you can eliminate the lower and higher frequencies and be left with a band of frequencies that you can process in isolation.
Notch Filter – also know as Band Reject Filter
This is the exact opposite of the band-pass filter. It allows frequencies below and above the cut-off and attenuates the frequencies around the cut-off point.
Parametric
Invented by George Massenberg, this filter is one of the most commonly used today.
This filter controls three parameters, frequency, bandwidth, and gain. You select the range of frequencies you want to boost or cut, you select the width of that range and use the gain to boost or cut the frequencies, within the selected bandwidth, by a selected amount.
The frequencies not in the bandwidth are not altered. If you widen the bandwidth to the limit of the upper and lower frequencies ranges then this is called shelving. Most parametric filters have shelving parameters.
Quasi-parametric EQ
This is just another form of parametric EQ but without the bandwidth control.
Sweep EQ
This is very similar to a band-pass filter, but with variable center frequency, and no control over the width of the filter response (Q).
Paragraphic EQ
Another variation on the graphic EQ. This EQ provides control over the center frequency of each band.
Also regarded as a cross between the graphic and parametric EQs, this EQ offers multiple parametric peaking filters, where the gain of each is provided on a slider much like the graphic EQ.
In the Active, Passive, Graphic, Parametric, Fixed and Peaking Eqs video I cover all of the most common types of filters and explain how each type works. I show you how we can create different EQ responses by using the various filter types. Active and passive EQ types are covered in detail and I show you how to create the various filter types using digital equalisers.
Plugins used in this video:
- Steinberg GEQ-30 Graphic EQ
- Nugen SEQ-S
- FabFilter Pro Q2
- Softube Tube-Tech ME 1B
- Softube Tube-Tech PE 1C
- Softube Passive EQ
- Softube Active EQ
- PSP NobleQ
- Softube Summit Audio EQF-100
- SSL X-EQ
Topics covered in this video are:
- Active, Passive, Graphic, Parametric, Fixed and Peaking Eqs
- Differences between Active and Passive
- How to use Graphic and Peaking EQs
- What are Shelves and Slopes
- Bandwidth (Q) and Resonance
- Matching Slopes
- Linear versus Minimum Phase
- Filters
- Full Range EQ
- Tips and Tricks
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