This course covers all of the processes of equalization that are in regular use in recording studio operations. The twelve modules cover filters, parametric and graphic equalizers and acoustic equalization. Applications of EQ include individual instruments and voices, blending instruments in a mix, and the equalization of a completed mix.
The course is entirely practical and is assessed solely on the learner's practical assignment work. Text and graphic support materials are provided as appropriate, and the course includes audio example files demonstrating equalization techniques.
The outcome of the course will be an enhanced level of knowledge, skills and experience in equalization techniques.
You can study the Audio Masterclass Professional Course in Equalization online or by downloading all of the course materials to your own computer. The course can be completed in 12 weeks, or you can spread it out over up to two years if you wish. You can work on the course at any time you choose, and take breaks whenever you like.
Each of the twelve modules of this course includes a practical assignment project that you can work on in your own home recording studio using digital audio workstation software. The assignments include tasks that are typical of a professional recording environment. The challenges are tough, but full instruction is given, often with audio examples and demonstrations.
This is the fully-assessed version of the Audio Masterclass Professional Course in Equalization. Study centers around the practical assignment projects of the course and the assessments you will receive.
You can submit each of your twelve practical assignment projects to Audio Masterclass for our assessment, comments and advice. Our assessments are detailed, friendly and helpful. We will tell you exactly what you are doing right, what could be better, and how you can improve. Re-submissions are welcome.
You will receive the Audio Masterclass Professional Certificate in Equalization on successful completion of the course.
|Notes on file format||Knowledge|
|Introduction to EQ||Knowledge|
|Frequency and level||Knowledge|
|Unit of frequency: the hertz||Knowledge|
|Relationship between frequency and musical pitch||Knowledge|
|Flat, roll-off, boost & cut, uneven responses||Knowledge|
|Level and decibels||Knowledge|
|The function of EQ||Knowledge|
|Low-pass, high-pass, band-pass, band-stop, notch||Knowledge|
|Mixing console EQ||Knowledge|
|Frequency, gain, Q (bandwidth)||Knowledge|
|Equalizing the mix||Knowledge|
|Equalization for live sound||Knowledge|
|Model answers to check questions||Quiz|
|Use of EQ and filters on instruments and drums||Audio examples|
|Use of EQ and filters on vocals||Audio examples|
|Module 1: Filters|
|Filter designs: Butterworth, Chebychev, Bessel and others||Knowledge|
|The all-pass filter||Knowledge|
|Practical assignment project on filters||Practical assignment project|
|Module 2: Parametric EQ|
|Practical assignment project on parametric EQ||Practical assignment project|
|Settings used for the filter assignment in the previous module||Practical assignment project|
|Module 3: Corrective equalization|
|Notch filtering||Practical assignment project|
|Hum removal||Practical assignment project|
|Narrow-band noise removal||Practical assignment project|
|Unwanted resonance||Practical assignment project|
|Settings used for the parametric EQ assignment in the previous module||Practical assignment project|
|Module 4: Equalization for bass instruments|
|Removal of excessive low-frequency content||Practical assignment project|
|Removal of excessive high-frequency content||Practical assignment project|
|Module 5: Equalization for drums|
|Kick drum||Practical assignment project|
|Snare drum||Practical assignment project|
|Hihat||Practical assignment project|
|Module 6: Complementary equalization|
|Audio examples of complementary equalization||Audio examples|
|Practical assignment project on complementary equalization||Practical assignment project|
|Module 7: Equalization for vocals|
|Low-frequency removal||Practical assignment project|
|Correction of dips in the frequency response||Practical assignment project|
|Correction of peaks in the frequency response||Practical assignment project|
|Subjective enhancement using EQ||Practical assignment project|
|Module 8: Low-frequency equalization in mixing|
|Control of low-frequency EQ in mixing||Practical assignment project|
|Optimization of individual instruments through low-frequency EQ||Practical assignment project|
|Blending of instruments through low-frequency EQ||Practical assignment project|
|Blending of instruments without fader adjustment||Practical assignment project|
|Module 9: Graphic equalization|
|The difference between graphic and parametric EQ||Knowledge|
|The variety of response curves achievable with graphic EQ||Knowledge|
|Interaction between the bands of the graphic equalizer||Knowledge|
|Practical assignment project on graphic EQ||Practical assignment project|
|Module 10: Match EQ|
|The typical relative energy in various bands of frequencies||Knowledge|
|Basic spectrum analysis||Knowledge|
|The difference between peak and RMS metering||Knowledge|
|Matching frequency balance characteristics using match EQ from first principles||Knowledge|
|Practical assignment project on match EQ||Practical assignment project|
|Module 11: Dynamic equalization|
|Introduction to dynamic equalization||Knowledge|
|Multi-band dynamic EQ||Knowledge|
|Practical assignment project in dynamic EQ||Practical assignment project|
|Module 12: Acoustic equalization|
|The resonance of partially enclosed spaces||Knowledge|
|The application of acoustic EQ to voices||Knowledge|
|The application of acoustic EQ to instruments||Knowledge|
|Practical assignment project in acoustic EQ||Practical assignment project|
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