EQ frequency settings

[suds_10]

I record using a Tascam DP-01fx Portastudio and i am fairly new to recording im basically learning by trial and error but i seem to be getting the hang of it and im getting a fairly decent sound, but one thing i am really stumped with is the EQ settings on the portastudio i have the ability to set the frequency at which the EQ high and low controls work. I can set the EQ high anywhere between 1.7 - 18 KHz and the low 32 - 960 KHz, i am recording vocals with backing tracks i was just wondering if someone can tell me what benefits these settings are to me and roughly where i should have them set for what i am doing as i have no idea about EQ settings ?????

Many thanks

 

[Massive Master]

The only person who can tell you what the best settings are is YOU...

You need to experiment with EQ to learn what it does and how it affects a particular sound - which will be different for basically every sound you throw at it.

Experiment, but don't rush it and don't feel bad if it doesn't work out right away - It can take several years of practical experience in many cases just to get "okay" at it.

 

[Farview]

Instructions for using any piece of audio equipment

1. Listen to what you have.
2. Envision what you want it to be
3. Figure out what will turn what you have into what you want it to be
4. Use that (those) plugin(s) and set them for the desired effect.

Until you define what needs to be done, you can't know what tools to use.

 

[Ethan Winer]

suds,

> i have no idea about EQ settings <

See The Art of Equalization here:

www.ethanwiner.com/equalizers.html

--Ethan

 

[suds_10]

Follow up from EQ settings

many thanks for your replies there much apreciated just a follow up question to the original, when when im setting the EQ freqency for each channel is it ok for the EQ frequencies to overlap and if so is there a maximum limit they should overlap by or should they be completely different frequencies ???

thanks

 

[Farview]

You do what you have to to get the effect you need.

 

[soundchaser59]

What I'd like to see......

A chart listing all the freqs on a 31 band eq, and examples of real world sounds given for each freq notch.

For example:

FREQ EXAMPLE
----- -----------
200hz air raid siren
500hz smoke alarm

 

[metalhead28]

What I'd like to see......

A chart listing all the freqs on a 31 band eq, and examples of real world sounds given for each freq notch.

For example:

FREQ EXAMPLE
----- -----------
200hz air raid siren
500hz smoke alarm

Do you mix alot of air raid sirens and smoke alarms?

 

[Farview]

There are charts like that. They only tell you what the range of notes are, not what frquencies the overtones and harmonics take up. You really need to use your ears. Stop mixing with your eyes. It doesn't matter what your mix looks like, or how it compares to some chart.

BTW, graphic EQ's are for live sound, not mixing. Use a parametric.

 

[soundchaser59]

Actually, I did! 82 years ago when I recorded a cover of Rick Wakemans "Excerpts from 6 Wives of Henry The 8th". Alarms, sirens, bombs, thunder, you name it. Back then everything fit....

I'm just saying for me it's easier to remember "Oh yeah, 500 hz is about like a smoke alarm frequency" than it is to try and remember a straight plain old sine wav tone. ABout the only straight sine wav pitch I can remember is middle C, only because I have played the piano sooo long. But that doesn't translate well to things like 2500hz or 8k or 10k. Just seems like I could identify freqs easier and faster if I could associate it with some real world sound.

 

[RAMI]

I don't care what anyone says, I have the best looking mixes out there. And these days, isn't that really what matters?

 

[metalhead28]

Actually, I did! 82 years ago when I recorded a cover of Rick Wakemans "Excerpts from 6 Wives of Henry The 8th". Alarms, sirens, bombs, thunder, you name it. Back then everything fit....

I'm just saying for me it's easier to remember "Oh yeah, 500 hz is about like a smoke alarm frequency" than it is to try and remember a straight plain old sine wav tone. ABout the only straight sine wav pitch I can remember is middle C, only because I have played the piano sooo long. But that doesn't translate well to things like 2500hz or 8k or 10k. Just seems like I could identify freqs easier and faster if I could associate it with some real world sound.

Like Farview said, knowing the fundamental frequency of a sound means nothing in the grand scheme of things. A single chord or even note on an electric guitar could show up all the way across the frequency spectrum, you need to use your ears to figure out which part of it is sounding like shit.

 

[Ford Van]

Yeah. EQ can be used to sort of correct the volume of a single note played on the bass guitar, say, the open A (110Hz) sounds quieter than all other notes.

Or, it can be used to enhance the upper overtones of that same note by boosting say 880Hz (3 octaves above the open A!!!)

Now, does the 880Hz note on a bass sound something similar to a smoke alarm? Does the 12th fret A sound like a siren?

No. The siren has a totally seperate set up overtones that make it's distinct sound!

You know how I learned eq? I learned it ringing out monitors on sound systems day in day out over many years. To this day, I can hear feedback, and be within 1/3 of an octave of picking it out.

If you want to know how eq effects music, just throw up a stereo mix on your DAW and insert an eq. Turn up the gain of a band and sweep the frequency. You will hear all sorts of interesting things.

Do stuff like that enough, eventually you hear what you are after.

I don't sweep eq's much anymore. Usually, I pretty much know what I am after to cut/boost on the eq just by hearing the track.

It really doesn't take all that much time to really start to associate frequency to the effect it has on instruments.

I tend to think that people are just lazy, and don't want to put the hours in, and think that some "magic" chart of frequencies cut/boost per instrument is somehow going to make their productions all of a sudden sound golden.

It just doesn't work that way.

 

[soundchaser59]

Good answer, Ford........makes perfect sense. Thanks.

 

[Ford Van]

What? You ain't gonna come out with your blazin' guns on me here?

 

[JohnMoxey]

Hey

I agree that you have to experiment, and that you have to choose what is acceptable, but a bit of guidance can be useful in many ways. For example using EQ to make room in a mix for another instrument to come through better without boost track volume.

Hopefully you'll find these articles of use:

EQ Frequencies

EQ

Cheers

John

 

[Ford Van]

Hey

I agree that you have to experiment, and that you have to choose what is acceptable, but a bit of guidance can be useful in many ways. For example using EQ to make room in a mix for another instrument to come through better without boost track volume.

Hopefully you'll find these articles of use:

EQ Frequencies

EQ

Cheers

John

That is all fine and good John. But, what frequency of the snare drum are you going to cut/boost if it is competing with a male voice?

 

[JohnMoxey]

Hey

Well I didn't say it was the answer to everything! Sometimes it's complex, and very hands on. Sometimes EQ isn't the answer.

In this case, I'd be concerned about the mix in general, but to get to an answer.... I'd experiment, and I would analyse.

By experiment I mean I would apply cut and a broad Q setting on the EQ. I'd sweep the frequency ( in the range of the male voice), on the snare. I'd then listen to see where I thought the vocal became more noticable. I'd then fine tune the EQ by narrowing the Q and carefully sweeping to identify sweet spots, then adjust the cut to something pleasant to the ear. At least this would be a good start.

Alternatively / as well, if you have the software do a frequency analysis on each track, and the combination to see where the most likely masking is occuring, then treat the snare (if the vocal is a lead vocal definately, if not I'd weigh up which one I wanted to cut through at the target frequencies).

The trouble with overlapping frequencies masking each other is that at the overlap both tracks will sound dull. Boosting the gain on the vocal will result in frequency hot spots, and probably excessive compression on the final mix in order to bring the overall volume up.

Like I said, it was intended as guidance , to help with working with EQ, that's all. You can use your ears, and use your mind. The two aren't mutually exclusive.

Cheers

John

 

[JohnMoxey]

I should also say that, the snare and vocal should both sound good, with a sound within the mix that reflects the tracks on their own. Sorry this doesn't really answer the Tascam question.

On that (suds_10) I would set the gains on your EQ to mid way, ie. no cut or boost, or (if it has the option) bypass the EQ during recording. Get as close to the original sound recorded. You can then treat it on playback. If you are short of tracks, then work on the EQ during track bouncing.

 

[Ford Van]

So basically, we are back to just putting on an EQ and experimenting.

So much for frequency charts!