26
Passeq Analog Code
®
Plug-in
The Basics of Frequency Filtering
This introduced an entirely new function for EQ, for exam-
ple, the emphasizing of particular instruments in their
tracks to prevent them from being lost in a mix by alter-
ing certain parts of their frequency ranges. Along with
this ability to emphasize specific tonal qualities appeared
the added capacity to indulge in even more creative work
through much stronger or even exaggerrated process-
ing of a sound and thereby lend it even more presence in
mixes. Without a doubt, the increasing popularity of elec-
tronic tone production has played a large part in the further
development of EQ filtering as a creative element in audio
production.
Frequency Filters
As a rule almost everyone of us has first made an aquaintance with
frequency filtering through our listening to home stereos. Such
elementary kinds of filters are simple amplitude-based filters:
When one turns a bass control clockwise, one hears a general or
overall increase in bass frequency energy. But with the explana-
tion above on the composition of a complex, natural tone, it is
clear that such a low frequency control does not only influence the
energy of the fundamental frequency, but also always the sound
of a tone—the relationship between energy of the fundamental
and harmonics frequencies is changed. Typically amplitude-based
frequency filtering boosts or cuts the energy of a specific audio
frequency band. In such processes it is possible to employ filters
with design and function that are very different from each other:
Depending upon the technical construction, such filters may, for
example, process only high or low frequencies in certain way.
Filter Types
There are two types of filters used in the Passeq: wide-band fil-
ters which are comparable to shelf-filter characteristics and bell-
formed peak-filters with narrower bandwidths.
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