Captain Terrific

Handy EQ Reference

35 posts in this topic

Thought the forum could use some decorating...

This article contains information originally sourced at EQ Frequencies and is used with permission from Songstuff.com.

Eq Settings

General:

20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track

60 Hz and below - sub bass (feel only)

80(-100) Hz - feel AND hear bass

100-120 Hz - the "club sound system punch" resides here

200 Hz and below - bottom

250 Hz - notch filter here can add thump to a kick drum

150-400 Hz - boxiness

200 Hz-1.5 KHz - punch, fatness, impact

800 Hz-4 KHz - edge, clarity, harshness, defines timbre

4500 Hz - exteremly tiring to the ears, add a slight notch here

5-7 KHz - de-essing is done here

4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion

6-15 KHz - air and presence

9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix

Kicks:

60Hz with a Q of 1.4 -- Add fullness to kicks.

5Khz with a Q of 2.8 -- Adds attack to Kicks

bottom (60 - 80 Hz),

slap (4 kHz)

EQ>Cut below 80Hz to remove rumble

Boost between 80 -125 Hz for bass

Boost between 3 - 5kHz to get the slap

PROCESSING> Compression 4:1/6:1 slow attack med release.

Reverb: Tight room reverb (0.1-0.2ms)

General:

Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.

Control The Attack:

Apply boost or cut around 4KHz to 6KHz.

Treat Muddiness:

Apply cut somewhere in the 100Hz to 500Hz range.

kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz

Snares:

100Hz with a Q of 1.0 -- Add fullness to snare

200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares

3Khz with a Q of 1.4 -- Adds atack to snare.

7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion

fatness at 120-240Hz

boing at 400Hz

crispness at 5kHz

snap at 10kHz

fatness (240 Hz), crispness (5 kHz)

EQ> Boost above 2kHz for that crisp edge

Cut at 1kHz to get rid of the sharp peak

Boost at 125Hz for a full snare sound

Cut at 80Hz to remove rumble

PROCESSING> Compression 4:1 slow attack med release.

Reverb: Tight room reverb (0.1-0.2ms)

snare>> fatness at 240HZ, crispness at 5 KHz

Vocals

General:

Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.

Treat Harsh Vocals:

To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.

Get An Open Sound:

Apply a gentle boost above 6KHz using a shelving filter.

Get Brightness, Not Harshness:

Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.

Get Smoothness:

Apply some cut in a narrow band in the 1KHz to 2KHz range.

Bring Out The Bass:

Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.

Radio Vocal Effect:

Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.

Telephone Effect:

Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.

vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz

Hats:

10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals

Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)

EQ> Boost above 5kHz for sharp sparkle

Cut at 1kHz to remove jangling

PROCESSING> Compression use high ratio for high energy feel

Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little

Get Definition:

Roll off everything below 600Hz using a High Pass Filter.

Get Sizzle:

Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.

Treat Clangy Hats:

Apply some cut between 1KHz and 4KHz.

hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz

Guitar:

Treat Unclear Vocals:

Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.

General:

Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.

Acoustic Guitar

Add Sparkle:Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.

General:

Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.

Other:

Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)

Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)

Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)

Toms: attack (5 kHz), fullness (120 - 240 Hz)

Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)

Bass - Compressed, EQ'd with a full bottom end and some mids

rack toms>> fullness at 240 Hz, attack at 5 kHz

floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz

horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz

strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz

conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz

General Frequencies:

EQ Reference: Frequencies

50Hz

Boost: To thicken up bass drums and sub-bass parts.

Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.

70-100Hz

Boost: For bass lines and bass drums.

Cut: For vocals.

General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.

200-400Hz

Boost: To add warmth to vocals or to thicken a guitar sound.

Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.

Boost or Cut: to control the 'woody' sound of a snare.

400-800Hz

Boost: To add warmth to toms.

Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.

General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.

800Hz-1KHz

Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.

1-3KHz

Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.

Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.

General: This frequency range is often used to make instruments stand out in a mix.

3-6KHz

Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.

Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.

6-10KHz

Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:

Bring out cymbals.

Add ring to a snare.

Add edge to a bass drum.

10-16KHz

Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.

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Wow awesome reference man ! .. Im constantly trying to remember those  (with little luck I should add) ..

Wicked :P

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Just touched up your reference a little bit man .. hope you dont mind ... I skimmed over it very quickly .. Thought it might look nicer with a touch of formatting... I think i missed parts ...  go ahead and fix up whatever you find i missed ! ;)

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Needs login ;)  Can you download the images and post them back ?? .. it sounds like a good idea ! ...          only problem is I need a massive size .... 

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Thats a damn good idea, wish i knew how to do vector diagrams as our list is more comprehensive than the one on DOA it seems...

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You know what .. I think ill make a soundpunk one tonight ... its a good idea .. and its now officially stolen ;D

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eq-wallp.gif

also found this a good tuning/manual keying guide

Frequencies for equal-tempered scale

This table created using A4 = 440 Hz

Speed of sound = 345 m/s = 1130 ft/s = 770 miles/hr

("Middle C" is C4 )

Note  Frequency (Hz) Wavelength (cm)

C0             16.35 2100.

C#0/Db0 17.32       1990.

D0             18.35 1870.

D#0/Eb0 19.45     1770.

E0             20.60 1670.

F0             21.83 1580.

F#0/Gb0 23.12     1490.

G0           24.50 1400.

G#0/Ab0 25.96     1320.

A0             27.50 1250.

A#0/Bb0 29.14     1180.

B0           30.87 1110.

C1           32.70 1050.

C#1/Db1 34.65     996.

D1             36.71 940.

D#1/Eb1 38.89    887.

E1           41.20 837.

F1           43.65 790.

F#1/Gb1 46.25     746.

G1           49.00 704.

G#1/Ab1 51.91     665.

A1           55.00 627.

A#1/Bb1 58.27     592.

B1           61.74 559.

C2           65.41 527.

C#2/Db2 69.30     498.

D2           73.42 470.

D#2/Eb2 77.78     444.

E2             82.41 419.

F2             87.31 395.

F#2/Gb2 92.50     373.

G2             98.00 352.

G#2/Ab2 103.83     332.

A2             110.00 314.

A#2/Bb2 116.54     296.

B2             123.47 279.

C3             130.81 264.

C#3/Db3 138.59      249.

D3             146.83 235.

D#3/Eb3 155.56      222.

E3             164.81 209.

F3             174.61 198.

F#3/Gb3 185.00     186.

G3             196.00 176.

G#3/Ab3 207.65      166.

A3             220.00 157.

A#3/Bb3 233.08     148.

B3             246.94 140.

C4             261.63 132.

C#4/Db4 277.18     124.

D4             293.66 117.

D#4/Eb4 311.13      111.

E4             329.63 105.

F4             349.23 98.8

F#4/Gb4 369.99     93.2

G4             392.00 88.0

G#4/Ab4 415.30      83.1

A4             440.00 78.4

A#4/Bb4 466.16     74.0

B4             493.88 69.9

C5             523.25 65.9

C#5/Db5 554.37     62.2

D5             587.33 58.7

D#5/Eb5 622.25      55.4

E5             659.26 52.3

F5             698.46 49.4

F#5/Gb5 739.99     46.6

G5             783.99 44.0

G#5/Ab5 830.61      41.5

A5             880.00 39.2

A#5/Bb5 932.33     37.0

B5             987.77 34.9

C6             1046.50 33.0

C#6/Db6 1108.73 31.1

D6             1174.66 29.4

D#6/Eb6 1244.51 27.7

E6             1318.51 26.2

F6             1396.91 24.7

F#6/Gb6 1479.98 23.3

G6             1567.98 22.0

G#6/Ab6 1661.22 20.8

A6             1760.00 19.6

A#6/Bb6 1864.66 18.5

B6             1975.53 17.5

C7             2093.00 16.5

C#7/Db7 2217.46 15.6

D7             2349.32 14.7

D#7/Eb7 2489.02 13.9

E7             2637.02 13.1

F7             2793.83 12.3

F#7/Gb7 2959.96 11.7

G7             3135.96 11.0

G#7/Ab7 3322.44 10.4

A7             3520.00 9.8

A#7/Bb7 3729.31 9.3

B7             3951.07 8.7

C8             4186.01 8.2

C#8/Db8 4434.92 7.8

D8             4698.64 7.3

D#8/Eb8 4978.03 6.9

(To convert lengths in cm to inches, divide by 2.54)

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Hmmm , cheers for that , looks handy,  but ill whip up a much nicer version ....  SoundPunk Style ;) .. The RAID array on my PC shit its self last night so I couldnt do it ...

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no prob, the top one is the pic direct from dogs on acid (what a genius name), and the bottom list was stolen from a music site looking at physics of musical scale.

if you re-do, feel free to delete my post and replace

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hey chene see if you can make it electronic music related more

every eq chart you see is all acoustic instruments and stuff, wheres the synth lead guide, and the synth bass guides?? you never see em..leads me to think no-ones bothered

to me the above one (which ironically i suggested!)  aint all the usefull, cept maybe the kick and snare, and occasionally the guitar or piano

look ofrwards to seeing the soundpunk version  8)

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Well i was actually just going to design a dope looking wallpaper and steal the EQ chart from the computer music mag disks ....  ;)  its all electronic related ..

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ill get to work on it soon ! .. Been flat out over the past few days (job interviews are killin me  ;) )

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Cheers bud. Just getting into production again after a long break and I've already found heaps of good stuff just lurking around here.

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hey chene see if you can make it electronic music related more

every eq chart you see is all acoustic instruments and stuff, wheres the synth lead guide, and the synth bass guides?? you never see em..leads me to think no-ones bothered

to me the above one (which ironically i suggested!)  aint all the usefull, cept maybe the kick and snare, and occasionally the guitar or piano

Hey Luke I think you'll find two reasons for not much synth action in EQ charts:

1) you're right, most of the charts are from the 70's when most instruments being recorded were acoustic or electric, rather than electronic. A lot of the recommendations come from experienced engineers passing on their acquired knowledge from previous recordings.

2) synths have a totally different range of spectra to acoustic instruments. Acoustic instruments already have a distinct spectral 'blueprint' that is generally common to instruments within that family (with subtle variations of course). They also have a limited note range, piano being the largest. This makes it reasonably easy to make predefined judegment calls about what EQ's will work or not.

To the average listener, a tenor sax sounds like a tenor sax, whether it's an expensive Selmer or a cheap Yamaha. Only experienced sax players would tell the difference, and even then it's subtle. They can't deny it still sounds like a sax - just a good one or bad one.

Synths can go all the way from below 20Hz to above 20kHz, can be played on a MIDI note range a couple of octaves wider than a piano, and can theoretically create any sound you can imagine. Problem with this is - what then is the spectral blueprint? What commonalities are there so we can make blanket statements about EQ? It's much much harder because there are so many options and variables.

I could, for example, offer an EQ quide for 'Moog Bass'. But is this with a real Moog, a sample of a Moog, or a replica/emulation of a Moog by another synth? I also have a sample library with about 10 kinds of Moog Bass. So which one does my EQ guide work for then -the subby one, the dirty one or the clicky one? See the problem?

Then think of all those swirling pads in something like Spectrasonics Atmospheres... how the hell do you do an EQ guide for them?

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Fuck you make me think too much. I have far too much other work i should be doing instead of thinking about this shit....

Damn soundpunk... :bang:

;D

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this guide mentions boosting a lot but i read somewhere that its not good to boost with eqs, only cut because it can cause masking. was the author speaking shit? if not, anyone have any tips to avoid masking when boosting eqs?

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this guide mentions boosting a lot but i read somewhere that its not good to boost with eqs, only cut because it can cause masking. was the author speaking shit? if not, anyone have any tips to avoid masking when boosting eqs?

i've heard this tip a lot.. and a lot of people swear by it - i think it might be one of those things that people talk about, but don't always do. i've read multiple explainations of it, but it still doesn't make much sense to me.

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