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The EQ Table (pg. 2)
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| paranoik0 |
| quote: | Originally posted by dbl
is there any good way of checking the frequenzy of your sound?
or how do you go about fixing the freq. of everything?
i know EQ:ing, but how do you know if it's right? |
there's nothing like the free Inspector VST :cool: |
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| dbl |
| quote: | Originally posted by paranoik0
there's nothing like the free Inspector VST :cool: |
hmmm... i recognise that... where can i find it?
have looked at KvR but can't find it :/ |
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| iLLicit |
www.elementalaudio.com
:D
And sure it's great, but it isn't as accurate as for example the Pinquin Audio Meter. But hey, it's free so why complain!
:p |
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| Design |
| quote: | | is there any good way of checking the frequenzy of your sound? |
Equalize so that every instrument has its own space in the frequency spectrum and is well defined. For example: if the kick and the bass are not distinctly heard when playing in a track, you need to cut a specific frequency from your kick (500 Hz for eg.) and add the same to your bass. In this way the to sounds are not on top of each other but they fit like puzzles. This is just one little example. If you want to know more, read about it. You can find tons of articles on the net.
Also, it's OK to use frequency analyzers from time to time, but do you think that your listeners will look at frequency when listening to your mixes or use their ears instead. Equalize so it sounds good, who cares how it looks on a frequency analyzer. Use your ears!
Cheers |
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| josh |
| quote: | Originally posted by alanzo
Check your PM, I sent it to you |
Care to send to me also? |
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| alanzo |
Understanding EQ/Everthing in its own space
Let me first start this off by saying, "I don't always understand my title of this forum" But I thought this would be cool to explore and examine.
I assume that we all know that the range of what most humans can hear runs from 20 hz to 20khz, so from 20 to 20,000 frequencies per second is all the human ear can deal with.
Those lower frequencies around 20 to hmmm about 100 maybe 200 are felt, just as much as they are heard. Ever wonder why that is so? Why does your shirt and chest rattle in the night club when the bass and kick are pounding away? Those low frequecies are full of energy, and that energy can actually attempt to move what it is trying to go through.
Sound is energy, plain and simple, just like a vehicle driving down the road at 60 mph, put an object in front of it, and both sound and the vehicle are going to attempt to plow through it. The lighter the vehicle and the higher the frequency, the less energy either have when impacting the wall, therefore the less ability they will have to move what they are hitting. Some are so lightweight they just bounce right back the other direction until they hit something the in the other direction.
So, this means the low frequencies are full of energy and the higher ones are just a bunch of lightwieghts bouncing all over the place. Now take this one step further.
Let's say you made a track with a thunderous bass, man it just vibrates the crap out of your shirt and is cool as hell, but then you have the amp from hell to drive that track. Next thing you do is burn the CD and run out to your car, but it sounds like crap. My god how can this be? You just created the next million seller and your car stereo is ruining it.
Well in your studio at 100 watts there is plenty of energy for all of your little freq buddies to play and be happy, but pop it into the car stereo with maybe 20 watts and there just isnt enough juice to go around. Somebody is not going to be heard. So the big energy robbing heavy hitters get their way and the little bounce off the wall wimps get left in the dust. It is only going to sound like one big bass/mudd line.
Ok so now we know that the lower freq's need to be restrained just a little, so we put some roll off below 50. (Side note, personal choice on where to roll it off) Now that lets the weaklings play along side the heavy hitters down at the bottom, but wait, it still sounds like mud. Damn it, what is going wrong here.
Now we have to think about other things and this is where it can get even more complicated. Let's say for arguments sake that you have 10 instruments playing in your track. Every instrument is going to have, what I like to think of as, its dominant frequecncy range. And some of this I am going "off the cuff" because I can never remember the ranges of all of these instruments, so I always go back and check my notes.
Bass and kick are going to be in that low high energy group from 20 to about 200, but then they are going to have harmonics that reach out beyond that, maybe even up into the 4000 freqs or more.
Keyboards are going to be in that 400 up to 3000 with harmonics beyond that.
Snares ride in the 400-1000 depending on tuning with harmonics
Vocals same thing and on and on.
Now you can see that things start to build up in the middle, somewhere between 400 to 8000 and all the stuff beyond are generally the harmonics all of these intruments produce.
It is in that 400 to 8000 range that you have to carve out little nitches for all of those instruments that sit there. If they all try to occupy the same place at the same time, then someone is going to lose and it all sounds like a muddy mess.
If you didn't capture the perfect sound that sits just right, EQ becomes your trusty fix. This is your swiss knife to carve up that precious little space of frequency spectrum and hand it out to each instrument. With EQ you are giving each instrument, the boundaries where it is allowed to play and be heard. No more, no less.
So exlcuding the kick and bass which you held back at below 50 hz you have, not including the snare, toms and cymbals, about 5 instruments that you really need to deal with. Those 5 have to be carved up into frequency nitches to allow them to be heard.
This doesnt mean that you take instrument 1 and roll it off at 300 and 600 and instrument 2 at 600 and 1000 etc. If you did that it would sound like a bad AM radio. It means you use cuts and boosts to give each one its prominent space. What one gets the other doesn't and vice versa and in the end you have 10 instruments all happily being heard.
I hope others jump in and offer some opinions. And I hope the newcomers understand that using EQ is not something you use, "just because", but a tool to carve out niches for all of your instruments to sit inside the limited frequency spectrum of 20 hz to 20 khz. Of course panning, volume and reverb can even play into this, but for now we are only thinking about frequencies.
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Instrument Frequency ranges
To understand EQ and its intricacies you need hands-on experience, but to help you get started, here's a table of general uses and the different ranges that EQ can affect. As every sound is different, though, these are necessarily very general guidelines...
Kick Drum
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
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EQ Tables
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50Hz
1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
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100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
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200Hz
1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
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400Hz
1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
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800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
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1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
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3KHz
1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
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5KHz
1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
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7KHz
1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
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10KHz
1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
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15KHz
1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real. |
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| Etherium |
I seem to remember someone making a thread about EQ about a month ago. The user took a couple of hours to write a compendious article about EQ .
Oh yeah, that was me.
EQ Thread |
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| Max13UT |
this is like the best post i have ever read on any forum......EVER
thx guys. also thx for that article Etherium. |
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| Sebraaa12 |
I readed somewhere that freq 180-360Hz need to be reduced!
Because of the muddy area :D
not in master effects but from mid range instruments!
I made it :) now my tracks sound better
what means english work "muddy?" :D
nice chart!! every producer must print it, frame it and hang it :)
thanks
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sebra |
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| alanzo |
| Framing it and hanging it in my studio is a good idea :) Muddiness means that the sound is to cluttered.. like to much bass.. it's somewhat hard to explain but reduce those frequencies in a bass and you'll hear the muddiness being reduced. |
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| thecYrus |
| quote: | Originally posted by Sebraaa12
nice chart!! every producer must print it, frame it and hang it :) |
already done! hehe :D |
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