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Equalization
EFFECTS AND HOW TO USE THEM
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You can download and use these articles for private
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No publication, neither reproduction, please!
MAIN - DRUMS
- BASS - GUITAR
- VOCALS & OTHERS - MASTERING
- FREQUENCY TABLE
(just clic on a theme)
Introduction
The equalization enables to influence and to master
the sound colour of an instrument or a mix. It is also
used to balance a mix, i.e. to help each instrument
to find its place in the sound spectrum. During live
shows, it is used to avoid feedback, and to impose a
certain sound colour, or to attenuate the sound defects
of a concert hall.
There are two sorts of EQ:
The graphic EQ, where the frequencies spectrum is cut
in a certain number of bands. The more simple is the
2 or 3-band EQ which can be found on guitar amp and
radios or small Hi-Fi. A little more sophisticated,
still on amps, or on some mixing boards, the 6-band
EQ, where six different settings can be found. However,
for serious work, 15 bands are needed. The standard
in live and studio is 31 bands. We are then talking
of a third octave EQ, since very octave is divided in
three bands.
The other family is composed of parametric EQ. Here,
frequencies and bandwidth are not fixed, but can be
freely set. SI, if you want to affect the 1.5kHz and
if you only have a 15-band EQ, you will have to choose
between the nearest pre-settings, 1kHz in our case,
and it will affect the whole frequency range between
500 Hz and 2 kHz. The result won't be the same if you
use a parametric EQ and if you set the exact frequency
(1.5 kHz) with a sufficiently narrow width in order
to affect only frequencies between 1.4 and 1.6 kHz!
Back to top
Main Settings on EQ
Graphic Eq
- INPUT - Input level, in order to not saturate
the electronic circuits.
- LOW CUT - High-pass filter, to make a first filtering
(low frequencies will be attenuated under a certain
frequency)
- HIGH CUT - Low-pass filter, to make a first filtering
(high frequencies will be attenuated above a certain
frequency). On some models, we can find noise limiter
or reducer (dBx 2231)
- LEVEL - The input level setting is often replaced
by an output level setting in order to correct the
gain changes on the modified signal. (if you increase
by 6 dB the 1kHz, the sound volume will almost double!).Then,
there are the different cursors or pots to increase
or decrease the frequencies.
- RANGE - Good quality EQs have a switch to change
the maximum setting extent between 6 dB (finer)
and 12 dB (more efficient)
- BYPASS - It is essential to compare the direct
sound and the processed sound.
Parametric EQs
- INPUT - Input level, in order to not saturate
the electronic circuits.
- LOW CUT - High-pass filter, to make a first filtering
(low frequencies will be attenuated under a certain
frequency)
- HIGH CUT - Low-pass filter, to make a first filtering
(high frequencies will be attenuated above a certain
frequency). On some models, we can find noise limiter
or reducer (dBx 2231)
- OUTPUT - The input level setting is often replaced
by an output level setting in order to correct the
gain changes on the modified signal. (if you increase
by 6 dB the 1kHz, the sound volume will almost double!).Then,
there are the different cursors or pots to increase
or decrease the frequencies.
- FREQUENCY - Sets the central frequency
- BANDWITH or Q - Sets the width of the band. Numbers
refer to octave, 2 means a width of 2 octaves (for
1 kHz the bandwidth goes from 500 Hz to 2 kHz),
0.5 means half an octave (for 1kHz, it goes from
800 Hz to 1.2kHz). But be careful, on some devices,
the numbers exactly indicate the contrary, i.e.
2 means half an octave and 0.5 means 1/0.5 = 2 octaves
- LEVEL - Set the process gain, generally from -15
to +15 dB
- BYPASS - It is essential to compare the direct
sound and the processed sound.
Know that in order to make a good equalization work,
you must have quality devices! A 90 €uros 15
bands EQ bought in a supermarket is no earthly use.
It will only bring noise and distortion!!!
Let's see now some practical examples of use (these
propositions are rather arbitrary, the ears will choose
at the end!).
Back
to top
Drums
On the Bass Drum, we will try to give a good foundation
for the warmth and the woumm, and we will increase the
low-medium for the kick which characterize the modern
sound.
- Low + 4 to 6 dB at 80 Hz
- Low - 2 to 4 dB at 150 Hz
- Low-medium - 4 to 6 dB at 350 to 630 Hz
- Medium + 6 to 10 dB at 3 kHz
On toms, we will attenuate the low-medium which sounds
like "ploc" et we increase the low and high
harmonics if possible, because some badly set toms resonate
a lot in low frequencies, and we must cut these ones
to the detriment of the sound.
- Low + 2 to 5 dB at 180 Hz
- Low-medium - 4 to 8 dB at 630 Hz
- Medium + 4 to 6 dB at 2,5 kHz
- High + 2 dB at 5 kHz
On the snare drum, the settings are different depending
on what we want to obtain.
Fine Snare Drum (jazz, funk) :
- Low + 2 to 4 dB at 180 Hz
- Low-medium - 4 dB at 630 Hz
- Medium + 4 to 6 dB at 4 kHz
- High + 5 dB at 10 kHz
Medium Snare Drum (funk, dance) :
- Low + 2 to 5 dB at 250 Hz
- Low-médium + 3 to 5 dB at 1,2 kHz
- Medium + 4 to 6 dB at 3 kHz
- High + 2 dB at 10 kHz
Snare Drum (rock, light music) :
- Low + 2 to 5 dB at 200 Hz
- Low-medium - 4 to 8 dB to 630 kHz
- Médium - 2 à 5 dB à 1,5 kHz
- High + 6 dB at 6 kHz
Heavy Snare Drum (rock, heavy) :
- Low + 4 to 10 dB at 230 Hz
- Low-medium - 2 to 5 dB at 500 Hz
- Medium + 2 to 5 dB at 2,5 kHz
- High + 6 dB at 4 kHz
Hi-hats and cymbals (overhead)
- Low - 12 dB à 250 Hz
- Low-medium - 6 dB at 800 Hz
- Medium - 2 dB at 2kHz
- High + 2 to 4 dB at 8 kHz
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to top
Bass
- Increase the low and high harmonics:
- Low + 2 to 5 dB at 100 Hz
- Low-medium - 3 dB at 800 Hz
- Medium + 2 to 4 dB at 2 kHz
- High - 8 dB at 10 kHz
- Low pass at 8 kHz
Electric Guitar
I am often confronted with two major problems, especially
with saturated guitars. First, the sound is too mat
and coated: decrease a little the 400 Hz and increase
the 2-3 kHz. Secondly, the sound is too aggressive:
attenuate the 2-3 kHz.
Clean sound (funky)
- Low + 4 dB at 250 Hz
- Medium - 4 to 6 dB at 800 Hz
- High + 2 to 4 dB at 4 kHz
Clean sound (blues)
- Low + 4 dB at 250Hz
- Medium + 4 dB at 1,2 kHz
- High + 2 dB at 4 kHz
Saturated sound (blues, lead)
- Low +4 dB at 250Hz
- Medium +4 dB at 1,2 kHz
- High + 2 dB at 4 kHz
Saturated sound (modern heavy)
- Low +10 dB at 180Hz
- Medium - 6 dB at 800 Hz
- High + 6 dB at 4 kHz
Acoustic guitar
- Low +4 to 6 dB at 160 Hz
- Low-medium - 4 dB at 500 Hz
- Medium -2 dB at 1,6 kHz
- High + 2 to 4 dB at 6 to 8 kHz
Back
to top
Vocals
To attenuate a little the low-medium and increase
the high-medium is a good thing to emphasize the voice.
- High-pass filter at 100 Hz
- Low + 2 dB at 200 Hz
- Low-medium - 2 to 4 dB at 350 Hz
- Medium + 4 to 6 dB at 2 kHz
- High + 2 dB at 5 kHz
Brass, Woodwinds and Keys
There is often no need to equalize - on saxophones
and flutes, we will sometimes attenuate high-medium
(2 to 4 kHz).
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Main Mix
A complete mix is always very delicate to process,
because the signal is very complex. Avoid the "V"
setting (i.e. low and high frequencies to the max,
medium to zero), it sounds powerful but always makes
think of a bad disco sound. Rather try to emphasize
the harmonics and to make the colour being more interesting
by finding the important frequencies (frequencies
which change the sound spectrum as soon as you touch
them). To attenuate low medium and increase brightness
is often fabulous.
- Low + 3 dB at 80 Hz
- Low-medium - 3 dB at 350 Hz
- Medium - 2 dB at 2 kHz
- High + 2 to 4 dB at 12 kHz
The EQ in a mix, general purpose
The EQ can be useful to balance a mix. If for example
we equalize all the instruments with the same settings
(low to the max, medium to zero), we will obviously
obtain a big "noise". Instead of separately
treating the instruments, try to attribute them a
place in the mix depending on their colour and frequencies,
avoiding too much overlapping in frequencies.
Example : if the bass drum is very heavy and powerful
in the 80 Hz, don't do the same for the bass, attenuate
the 80 Hz, and increase a slightly higher frequency,
150 Hz for example.
Same thing for the guitar. It doesn't need to have
low frequencies to the max, it would only heavy the
mix. On the contrary, attenuate the medium around
60 - 800 Hz, the low will automatically sound warmer,
and if you increase a little the 2.5 kHz, the guitar
will easily place itself on the front line.
Same thing for the voice. Don't put too much low frequencies,
otherwise the mix will be coated...
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Frequencies Table
Here is a little referential table, which gives
information on the important frequencies of instruments.
|
INSTRUMENT |
LOW CUT |
FUNDAMENTAL |
SENSITIVE FREQUENCY |
HARMONICS |
These frequencies are obviously given for information
only, and have to be refined depending on cases...
|
Male Voice |
100 Hz |
200 Hz |
2 kHz (+) |
4 à 5 kHz |
Female Voice |
120 Hz |
300 à 400
Hz |
2,5 kHz |
5 à 6 kHz |
Spoken Voice |
120 Hz |
200 Hz |
2 à 3 kHz |
4 kHz |
Electric Guitar |
80 Hz
| 200 à 300
Hz
| 2,5 kHz |
> 4 kHz
|
Acoustic Guitar |
100 Hz |
150 à 250 Hz |
2 à 3,5 kHz |
6 kHz |
Piano |
- |
80 à 150 Hz |
2 à 3 kHz |
> 4 kHz |
Harmonica |
100 Hz |
250 Hz |
1,5 à 2,5 kHz |
4 kHz |
Saxophone |
80 Hz |
150 à 250
Hz |
2 kHz (-) |
3 à 4 kHz |
Trombone |
80 Hz |
150 Hz |
1,5 kHz |
3 kHz |
Trumpet |
120 Hz |
300 Hz |
1,5 kHz (-) |
> 4 kHz |
Flute |
200 Hz |
300 Hz
|
1,5 à
2 kHz |
4 kHz |
Bass |
- |
80 Hz |
250 à 500
Hz |
2 à 3 kHz |
Bass Drum |
- |
60 à 80 Hz |
350 à 600
Hz (-) |
2 à 3 kHz |
Snare |
80 Hz |
150 à 250
Hz |
600 à 1,5
kHz |
3 à 5 kHz |
Tom |
100 Hz |
150 à 200 |
600 (-) |
2 à 3,5 kHz |
Tom-Floor |
- |
120 |
300 à 500
(-) |
2 à 3,5 kHz |
HiHat/Cymbals |
200 Hz |
400 à
600 Hz |
2 à
3 kHz (-) |
8 kHz |
First, a very important thing: in order to work
well on equalisation, a parametric eq is essential!!
Thus, on small mixing boards, frequency ranges
are often fixed (medium to 2kHz for example).
These frequencies are rather well chosen in order
to equalize a voice or a guitar, but inappropriate
for drums.
The first column gives the frequency
of a possible LOW CUT , that is to say the low
frequencies which are relatively useless for the
instrument sound. Professional mixing board have
a low cut (which sometimes can be set, or with
a fixed frequency, 100 Hz for example), with which
all the useless low frequencies are removed. This
considerably lighten the whole mix, and remove
many parasitic noises.
The FUNDAMENTAL column gives
the frequency on which the instrument is based.
Increasing it, we can find immediately warmth
and depth; decreasing it, the sound lightens and
becomes slighter.
SENSITIVE FREQUENCY is the
mainspring frequency of the instrument. It is
the critical frequency which will the more influence
the sound. Increasing it, the instrument seems
louder and will naturally place in front of the
mix, but this can quickly become aggressive. Decreasing
it, the instrument goes "inside" the
mix and the sound softens.
HARMONICS gives the frequencies
which are responsible for the colour of the instrument
sound. Increasing it, we have the impression of
more presence and brightness, decreasing it the
sound becomes dull. Back to top
|
Back to top
© Ziggy - Juin 2002 - English version by Seb
and Espace-Cubase
Vous pouvez consultez ces
fichiers en ligne ou les télécharger.
Mais ne les piratez pas. Pas de publication
ni de reproduction. Malheureusement je trouve
parfois mes articles, publiés sur
d'autres sites, sous d'autres noms - et
sans mon autorisation, ce qui est illegal!!
|