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  1. thomas
  2. Sherlock Holmes The Voice
  3. Legacy Yamaha Synths
  4. Wednesday, 12 May 2021
Considering how best to edit acoustic guitar / mainly the steel string internal voices in my ES. If I know what frequency i want to boost or reduce would I normally just simply use EQ vs doing it through a multiband EQ insertion effect? I am thinking the insertion route might be more flexible, allowing me to set ranges and experiment a little more vs targeting a precise frequency...Any guitar editing tips would be appreciated. THKS
Responses (2)
Bad Mister
Yamaha
Accepted Answer Pending Moderation
Each AWM2 Element has an Element EQ
Yes, there is an Equalizer available for each of the 8 Elements within a VOICE. This EQ is for troubleshooting frequency problems within each Element - It can be configured as a 2-Band, or as a single Band parametric; or you can set it to boost the individual Element by +6, +12 or +18dB. (The Boost function uses just the amplifier portion of the Equalizer and is used to fix things that are low in volume - it is boosted across all frequencies).

Each MIXING Part has its own Part EQ.
PART EQ — Each channel of a MIXING setup will have its own PART EQ. This is a 3-band parametric equalizer, peaking MID-range, with the high and low bands set to shelving. The purpose of the Part EQ is to create the ensemble sound. Making the various instruments work with each other.
Song/Pattern —> [MIXING] —> [EDIT] —> select the Part —> [F3] EQ

The entire Mixing program goes through the Master EQ — used to compensate for the room you are playing in now.

Among the (Part) Insertion Effects you have a 3-band and 2-band EQs

Extra Credit — Theory of Operation: the Equalizer
Below I’ve provided LINKS to a 3-Part Series of Articles from the catacombs:_ __ (and as ancient as these articles are, the Motif ES predates them). Written at the time of the Motif XS/XF, there is reference made to the VCM EQ 501 (standard in the Motif-series after 2007). But the theory of operation for Equalizers and their structure within the Yamaha synthesizer architecture is still valuable info, and since it addresses overall, an approach to knowing which EQ to use to solve a particular problem.

When blending the acoustic steel string sound into an ensemble of instruments, it is going to be the EQ you apply to the Part that makes the most sense. If the Acoustic steel guitar is the lowest instrument among the ensemble, your approach to how you EQ it would be different from when a bass occupies the “lowest instrument” spot. Whether that bass is acoustic or electric, bowed or plucked, will make a difference from when a string orchestra is the overriding low frequency sound, etc., etc. When EQ’ing at the Part level of the architecture, it is like EQ’ing a mix at a console. Who and what instruments are in play will greatly influence what EQ strategy makes the most sense.

And as you’ll learn— each Part has an EQ, and some may have the potential for an Insertion Block set to an EQ. Because of its location (to the Part) separate from its ensemble mates, it makes the best place to start. The lowest “E” on an acoustic guitar is around 82Hz

https://www.yamahasynth.com/learn/synth-programming/synth101-equalizers-part-i

https://www.yamahasynth.com/learn/synth-programming/synth101-equalizers-part-ii

https://www.yamahasynth.com/learn/synth-programming/synth101-equalizers-part-iii


Extra Extra Credit:
The low string fundamental is approx E82 and the fundamental of the high string is E approx 329Hz, but harmonics of the acoustic guitar, what gives it its intelligibility and lift, can range easily up to 4kHz.

You learn in the article about an EQ being a combination of amps and filters... if you were to Filter on an Acoustic Guitar and attenuated (turned down) completely all frequencies above the Cutoff frequency... you will quickly learn to appreciate that high frequency ‘space’ above the sound of the guitar — removing it is like lowering the ceiling, lowering the sky, it determines to a great degree a sense of air... all these metaphors truly do apply. Without clarity in the high end we lose the sparkle in the sound, it gets muffled, rounded, dull...

This is because our ear/brain can detect these upper frequency harmonics - they help sharpen our focus / our ability to recognize and enjoy musical tones. When EQ’ing an instrument consider that boosting a frequency, makes a particular portion of it range louder than its neighbors. When that frequency is a fundamental within the range of instrument - boosting @ approx 160Hz would make the middle notes of the guitar stand forward. However boosting @ approx 1.2kHz would have a completely different result - where you are now more aware of the picking noise than might be usual. That’s the thing about EQ’ing it can affect many things.
  1. more than a month ago
  2. Legacy Yamaha Synths
  3. # 1
Accepted Answer Pending Moderation
Master Class - Loving it.... Thank you Phil........
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