Looking for eq tips

Wondering if anyone may have any eq tips. It doesn't appear possible to use multiple band pass filters to manipulate a sample (at least not that I can discern through playing around). Essentially I am looking for multiband/parametric eq like manipulation to cut/boost frequencies on a per sample/pattern basis.

Whilst this could be achieved by routing audio through a DAW/extra module (or in post... am prepping for recording) I would prefer to achieve in Tidal/Supercollider to avoid extra system load/the need to manage settings across multiple compositions or in the case of recording to keep the Tidal/live file as true to the end recording as possible...

Any tips/input would be greatly appreciated!

Interesting problem, I imagine it would be possible to write, but it's not anything I'm aware of

The only hack workaround I can think of which is duplicating your pattern and applying hpf and lpf separately:

d1 $ n "df'five" # s "superhoover"
    # lpf 1000

d2 $ n "df'five" # s "superhoover"
    # hpf 2000
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Thanks. Is possible to apply hpf and lpf (and bpf/lbrick/hbrick filters) on the same sample. Am more so wanting to zero in and remove problematic frequencies (which occur when messing with speed, resonance etc.) I am sure that Tidal/Haskell are capable of it but to my knowledge there is no function currently.. and is well beyond my ability (atm) to add one.

Been enjoying your contributions to the club by the way.. Listening discussions and the weekly practice posts...

You're really stretching me here :wink:
You could do it with a series of off statements potentially? I can't test here, but something like:

d1 $ off 0 ((# lpf 1000) . (# gain 1)) $ off 0 ((# hpf 2000) . (# gain 1)) $ n "df'five" # s "superhoover"
    # gain 0

It's not really working on the same sample though, it's playing multiples I think - it's also getting pretty unwieldy at this point -
I'm not 100% sure how a parametric eq works, but I'd guess there's generally sliders with a fixed frequency that you can increase/cut the gain for...
Would syntax like this make sense?

# paraeq [<freq1>:<level1>, <freq2>:<level2>,..,<freqN>:<levelN>]

where freqN is whatever freqency you want to apply the change to, and level would be a value range (0.0-1.0?)

Hey thanks! My practice sessions can be pretty hit and miss sometimes so I'm glad you persevered with them :slight_smile: Interesting that you mentioned the discussions too - I think feedback is really important to receive - particularly when starting out, so when I have the time/capacity to actively listen and respond, I try to do so... which reminds me, I need to catch up on my listening backlog in that thread

Had to go back and check but can:
$ s "bd*4" # hpf 200 # bpf 300 # lpf 500
If you remove/change either the hp, lp or bp you can hear they all affect the sample. The bpf is kinda redundant as the hp lp achieve the same result with greater control over the range. Though the bpf is easier to pattern: # bandf "100 1000 2000" and sweep/alter if using a controller: (range 100 2000 $ cF...)

Parametric/multiband eq essentially works similarly to a bpf (or multiple) but without cutting of frequencies either side of the selected frequency ie. it is possible to set the frequency, frequency range and gain + or -

this is the way :upside_down_face:

I think at any level feedback is important. Also the ability to listen back critically to output. Which is where this line of questioning has come from. One of my current projects played its first gig last week through a decent system with 2 subs and I now know that a lot could be done to our sound, clarity wise, to improve our next gig. Also am collaborating with modular synthesis so being able to manipulate frequencies to better accommodate other players would be beneficial.

Will hopefully have some recordings up on bandcamp and youtube (we also work with live visuals) in the next week or two... would be interested in your feedback. Now that the pressure of composing for our first gig is over I also hope to be more active in the club.

Thanks for your input!

Yeah totally, I think at this point you'd actually be best served by a dedicated eq inline with your output signal (software or hardware) because particularly for wrangling bass frequencies, you'll find its different for every room but usually a set and forget affair once the initial eq balancing is done

Looking forward to hearing it/would be glad to offer it :grin:

For sure. But is still a matter of getting each track optimised as best as possible to enable for "setting and forgetting". Unfortunately need some computer upgrades - new harddisk so I can do a full linux install... been running off of an external. Until then can't push the software side of things too hard. Have just pulled out another soundcard, though, to configure.

Will hit you up.


You could just add a new effect module, using a set of the EQ filters in supercollider, e.g. MidEQ.

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Am an idiot to have not thought of that. Will have a look into adding modules to SuperCollider. Thanks.

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Given the ascetic documentation of superdirt, no wonder! Let us know whether you found a solution …

Got busy working things for the recent Solstice stream and another gig. Haven't had a change to have another go at it. If I come up with anything will post back. I was also making things more difficult for myself by trying to warp weird samples into bass and kicks.... and then needing to deal with unexpected resonance...