Where every instrument belongs in the EQ Spectrum.

S

Spitz

New member
Recently, I've read a lot of discussions from home-recording-related forums, and have come to the conclusion that one of the biggest factors involved in achieving the famous "wall of sound" in a recording is the correct placement of every instrument in the EQ Spectrum (correct me if it's not called this way).

I've read that every instrument should take its "punchy" spot in the spectrum and "leave room" for other instruments.

In light of this, could someone point me in the right direction as to which is the "punchiest" spot for each individual instrument within this spectrum and what frequencies (for that same instrument) should I roll off so that it leaves room for the other instruments?

I'm mostly interested in learning the "punchy" spots for the guitars, the drums, and the bass.

I'm 17 and my setup is very limited, but Adobe Audition has the capacity to "boost" and "cut" frequencies, which is exactly what I'm interested in right now.

Your input is tremendous help to me!
Thanks! :)
 
I know I've seen FAQs on this before, and they tend to be very helpful. (I'll make sure to bookmark it if I ever see one again!)

However, many people will tell you that EQing depends a lot on the style of music you
re working with, and which instruments. It really depends on the song.

Such guides are only to be used as a reference. You are supposed to use your ears as there isn't just one way to do something. Also, as a note, it's usually better to cut frequencies than boost them, as you won't overload the track.
 
I found this somewere;

FREQUENCY:
USES:

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 loud bass lines like rock.

100Hz
1. Increase to add a harder bass sound to lowest frequency instruments.
2. Increase to add fullness to guitars, snare.
3. Increase to add warmth to piano and horns.
4. Reduce to remove boom on guitars & increase clarity.

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.

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.

800Hz
1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars.

1.5KHz
1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.

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.

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 (especially rock guitars).
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.

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.

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.

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.
 
Use the "Search" function

These exact issues have been covered in very significant depth in these forums within just the past few days, and are easily findable by searching on "wall of sound" or "eq frequency". Or - even easier - by simply going down one page in the thread listings in these forums and the "Mixing and Mastering" forum and seeing what is already being discussed.

But I'll save you even that miniscule amount of work: you can find them at "Wall of Sound" and "EQ Map".

G.
 
Spitz said:
Your input is tremendous help to me!
Thanks! :)
Click to expand...
Only to add that it would seem you may be putting a little too much into this. Yes it's a valid tool, on the other hand; Overlap is fine too, sometimes desirable -as in a way to control density, or to not have something trimmed out. -A great deal of spectrum sharing happens already within the instruments and the parts they are playing. -Just as often eq'ing for smoothness and fit is all that is needed. -And the biggest generalization- sparse arrangements need allot less of this than dense ones where the fight for space is tighter.
Yeah? ;)
Wayne
 
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