Equalization can be of benefit in the post-processing of most field recordings. Here are some of my commonly-used equalization schemes and reasoning. I will update this periodically as I make changes to my workflow or learn new methods.
I like Biosphere’s (Geir Jenssen’s) music very much and one of my favorite albums is Shenzhou. The album is made up of repeated looping of Debussy orchestral track samples. The title song is particularly interesting to me as I like the depth and width of the sound. I was able to figure out how to remake it and I’d like to show you how I did that.
It may seem strange to want background noise in a recording, but it gives it a certain realism as opposed to the cleanliness of a digitally-mastered DAW creation. I like the sound I hear in the background of Susumu Yokota’s Saku from his Sakura album, so I was able to replicate it using common pink noise and equalization. Here’s how:
For the aspiring tape loopers out there, I’m sure I speak for us all when I say that we’d all like to have the time to play around with splicing tape into loops and recording through a four-track. But when this is not possible, here’s an easy alternative right in your DAW.
After having been to Budapest and found an 1896 C. Bechstein piano in the lobby of The Continental Hotel, I’ve learned much more about how I can make the same sound of it or any other piano within Pianoteq or via other vst instruments and effects. But, in fact, I aim to make it sound even better. Here’s what I have learned so far.