stratman56
September 2nd, 2005, 10:11 AM
These have really helped my recordings. I thought I would pass it on.
Equalization Techniques
1
Boosting Harmonic Frequencies
Boosting harmonics is one of the first techniques an engineer learns to increase clarity and distinction on instruments. This is a very valid method of equalizing. Some of the suggested equalizer settings from equalization frequency chart used these techniques:
Instrument
Frequency
Description
Bass
400 Hz
"Increase to add clarity to bass lines..."
Bass
1500 Hz
" Increase for ‘clarity’ & ‘pluck..."
Guitar
3 kHz
"Increase to add attack..."
Guitar
5 kHz.
"Increase ‘brightness..."
Vocal
5 kHz
"Increase for vocal presence."
Vocal
10 kHz
"Increase to brighten vocals."
Notice that there are at least two frequencies in the harmonic range of the above instruments that could be accented for "clarity" or "brightness"
2
Boosting Fundamental Frequencies
The boosting of fundamental frequencies is also one of the first things a new engineer tries, but boosting of fundamentals should be the last thing ever considered.
Accenting fundamental frequencies usually makes the instrument indistinct and muddy sounding. The fundamental frequencies of two instruments playing the same part are the same, therefore, accenting the fundamental of instruments playing the same part makes both instruments closer to sounding the same (indistinction). When two instruments are playing similar parts in the same key they also get indistinct when the fundamental of either instrument is boosted.
If an instrument sounds "thin" or "small" one can carefully boost fundamental frequencies to correct this. The microphone could have been poorly placed and/or the harmonics over-boosted with EQ. Another application for boosting fundamental frequencies would be to do so when an instrument was playing by itself (in solos etc.).
3
Reducing Fundamental Frequencies
Reducing fundamental frequencies in an instrument tends to accent all of the harmonics and is a good alternative to boosting harmonics. The method is most often used in rock recording but works well for all styles of music. This technique found its way to the suggested frequencies chart:
Instrument
Frequency
Description
Bass
40 Hz
"Reduce to decrease "boom" and increase recognition."
Guitar
100 Hz
"Reduce to decrease boom and increase clarity."
Vocal
200 Hz
"Reduce to decrease muddiness of vocals."
4
Complimentary Equalization
One of the hardest things to overcome in mixing is the hearing limitation known as masking. Masking is one sound covering up all or part of another sound because the frequencies of the two sounds are close. The sound that is slightly louder sort of "wipes out" the other sound.
The way this works with music is that one instrument will make the other instrument sound dull and indistinct. It is frustrating to both the novice and the experienced engineer that an instrument sounds so great by itself and so "lifeless" in the mix.
An equalizer is a "level control" for certain rangers of frequencies. When you boost a frequency with EQ, you are making the dialed up frequency louder than others (as well as frequencies that are close to the frequency set on the equalizer). When you dip or cut with an equalizer you are reducing level of frequencies in that range.
When you have indistinct sound between two instruments, you can use a method called "complimentary equalization." The idea is to boost a certain frequency on one instrument and dip that same frequency on another instrument. This will get both instruments distinct, when properly done.
Some key conflicts that come up often in mixes include:
Foot Drum Vs. Bass
Dip between 350 Hz and 400Hz on the foot drum (to remove the "cardboard" sound) and increase the same frequency on the bass (to add bass presence).
Lead Vocals Vs. Background Vocals
Dip between 3 kHz and 4 kHz on the background vocals to give them an "airy" sound and increase the same frequency on the lead vocal.
When using this method you will be surprised that you get a lot of change with only a little amount of equalization. Use between 3 dB and 6 dB of boost and cut.
A Typical Example:
The following example uses all of the techniques discussed. instrumentation is Drums, Bass, Electric Guitar, Keyboard with Lead and Background Vocals. "+" indicates boost and "-" indicates reduction at given frequency.
Instrument
EQ Settings
Notes
Foot
-6 @ 400 Hz +4 @ 5 kHz
Reduces box quality. Increases attack
Snare
+4 @7 kHz +2 @ 100 kHz
Increases snap. Adds fullness to high-tuned snare
All Drums
-4 @ 400 Hz +4 @ 15 kHz
Decreases ambiance & increases bass clarity. Increases cymbal sizzle.
Bass
-2 @ 50 Hz +4 @ 400 Hz +2 @ 1.5 kHz
Increase clarity of bass Adds clarity to bass line and recognition at low volume. Increases pluck and recognition.
Guitar
-4 @ 100 Hz +2 @ 3 kHz Increases guitar vs. bass distinction. Increases attack ( 3 kHz needs much less boost once 100 Hz is reduced).
keyboards
+4 @ 5 kHz
Increases clarity & brightness.
Lead Vocal
+4 @ 10 kHz +2 @ 5 kHz ? @ 200 Hz
Brightens and adds presence. At 200 Hz, reduce 2 or 4 to add clarity to low vocals increase 2 or 4 to fill out high vocals.
Bkg. Vocal
-6 @ 5 kHz
Sets background back and increases lead vs. background distinction
This "textbook" EQ can’t be expected to work on all sessions. On the right session, however, it would give a very natural sounding recording or mix with surprising clarity and punch. Notice that boosting two instruments at the same frequency was carefully avoided. Notice that reductions were generally larger than boosts.
This article posted to www.recordingwebsite.com with permission of Alexander Magazine And Recording Engineer's Quarterly
Equalization Techniques
1
Boosting Harmonic Frequencies
Boosting harmonics is one of the first techniques an engineer learns to increase clarity and distinction on instruments. This is a very valid method of equalizing. Some of the suggested equalizer settings from equalization frequency chart used these techniques:
Instrument
Frequency
Description
Bass
400 Hz
"Increase to add clarity to bass lines..."
Bass
1500 Hz
" Increase for ‘clarity’ & ‘pluck..."
Guitar
3 kHz
"Increase to add attack..."
Guitar
5 kHz.
"Increase ‘brightness..."
Vocal
5 kHz
"Increase for vocal presence."
Vocal
10 kHz
"Increase to brighten vocals."
Notice that there are at least two frequencies in the harmonic range of the above instruments that could be accented for "clarity" or "brightness"
2
Boosting Fundamental Frequencies
The boosting of fundamental frequencies is also one of the first things a new engineer tries, but boosting of fundamentals should be the last thing ever considered.
Accenting fundamental frequencies usually makes the instrument indistinct and muddy sounding. The fundamental frequencies of two instruments playing the same part are the same, therefore, accenting the fundamental of instruments playing the same part makes both instruments closer to sounding the same (indistinction). When two instruments are playing similar parts in the same key they also get indistinct when the fundamental of either instrument is boosted.
If an instrument sounds "thin" or "small" one can carefully boost fundamental frequencies to correct this. The microphone could have been poorly placed and/or the harmonics over-boosted with EQ. Another application for boosting fundamental frequencies would be to do so when an instrument was playing by itself (in solos etc.).
3
Reducing Fundamental Frequencies
Reducing fundamental frequencies in an instrument tends to accent all of the harmonics and is a good alternative to boosting harmonics. The method is most often used in rock recording but works well for all styles of music. This technique found its way to the suggested frequencies chart:
Instrument
Frequency
Description
Bass
40 Hz
"Reduce to decrease "boom" and increase recognition."
Guitar
100 Hz
"Reduce to decrease boom and increase clarity."
Vocal
200 Hz
"Reduce to decrease muddiness of vocals."
4
Complimentary Equalization
One of the hardest things to overcome in mixing is the hearing limitation known as masking. Masking is one sound covering up all or part of another sound because the frequencies of the two sounds are close. The sound that is slightly louder sort of "wipes out" the other sound.
The way this works with music is that one instrument will make the other instrument sound dull and indistinct. It is frustrating to both the novice and the experienced engineer that an instrument sounds so great by itself and so "lifeless" in the mix.
An equalizer is a "level control" for certain rangers of frequencies. When you boost a frequency with EQ, you are making the dialed up frequency louder than others (as well as frequencies that are close to the frequency set on the equalizer). When you dip or cut with an equalizer you are reducing level of frequencies in that range.
When you have indistinct sound between two instruments, you can use a method called "complimentary equalization." The idea is to boost a certain frequency on one instrument and dip that same frequency on another instrument. This will get both instruments distinct, when properly done.
Some key conflicts that come up often in mixes include:
Foot Drum Vs. Bass
Dip between 350 Hz and 400Hz on the foot drum (to remove the "cardboard" sound) and increase the same frequency on the bass (to add bass presence).
Lead Vocals Vs. Background Vocals
Dip between 3 kHz and 4 kHz on the background vocals to give them an "airy" sound and increase the same frequency on the lead vocal.
When using this method you will be surprised that you get a lot of change with only a little amount of equalization. Use between 3 dB and 6 dB of boost and cut.
A Typical Example:
The following example uses all of the techniques discussed. instrumentation is Drums, Bass, Electric Guitar, Keyboard with Lead and Background Vocals. "+" indicates boost and "-" indicates reduction at given frequency.
Instrument
EQ Settings
Notes
Foot
-6 @ 400 Hz +4 @ 5 kHz
Reduces box quality. Increases attack
Snare
+4 @7 kHz +2 @ 100 kHz
Increases snap. Adds fullness to high-tuned snare
All Drums
-4 @ 400 Hz +4 @ 15 kHz
Decreases ambiance & increases bass clarity. Increases cymbal sizzle.
Bass
-2 @ 50 Hz +4 @ 400 Hz +2 @ 1.5 kHz
Increase clarity of bass Adds clarity to bass line and recognition at low volume. Increases pluck and recognition.
Guitar
-4 @ 100 Hz +2 @ 3 kHz Increases guitar vs. bass distinction. Increases attack ( 3 kHz needs much less boost once 100 Hz is reduced).
keyboards
+4 @ 5 kHz
Increases clarity & brightness.
Lead Vocal
+4 @ 10 kHz +2 @ 5 kHz ? @ 200 Hz
Brightens and adds presence. At 200 Hz, reduce 2 or 4 to add clarity to low vocals increase 2 or 4 to fill out high vocals.
Bkg. Vocal
-6 @ 5 kHz
Sets background back and increases lead vs. background distinction
This "textbook" EQ can’t be expected to work on all sessions. On the right session, however, it would give a very natural sounding recording or mix with surprising clarity and punch. Notice that boosting two instruments at the same frequency was carefully avoided. Notice that reductions were generally larger than boosts.
This article posted to www.recordingwebsite.com with permission of Alexander Magazine And Recording Engineer's Quarterly