EQ "theory"

[palooza02]

I have been at the whole recording/mixing thing for a while now as a hobby, and have been getting better at the whole EQ thing in general. I am still sorta confused at the basic principal of equilization while mixing and mastering.
-bottom line , what is the basic approach you are "sopost" to take when dealing with equilization. When I say this, I am speaking along the lines of fundamental frequencies, harmonics, carving out space, etc.. I know that you can develop an ear for isolating frequencies but how should you go about GETTING BETTER at knowing where to cut and bump(<-- my main point)? I know this question is kind of vague, but any advice would help!

 

[BRIEFCASEMANX]

I've been thinking about this for awhile as well! Are there any tips or rules that apply to cutting harmonics, octaves, fundamentals, etc...?

Like if you boost the fundamental will that leave you some more room to cut higher up stuff out for other instruments to be heard better? --Stuff like that right?

 

[RAMI]

I'm by far no expert and you might get better answer if and when some of the heavyweights respond to this. But I'll try my best to tell you what I found works best for me.
First of all, I almost never boost frequencies. There are exceptions, like maybe boosting around 5k to get more "click" out of a bass drum. But in general, I figure I'm safe from ruining a mix if I generally use eq to cut instead of boost.
To find which frequencies to cut, I do something I find pretty simple. Assuming I'm working with a parametric, I'll make the "Q" as narrow as possible so I can zero in on frequencies more pecisely. Then, I'll take the gain and boost it drastically so that whatever frequency I'm on really stands out. From there, I just move up and down through the frequencies and listen to which ones "sing" and stand out the most. Those are usually the frequencies I end up cutting.
I also find that there seem to be a lot of the usual suspects that need to be cut often. 400hz, 1k and 4k almost always seem guilty of needing to be cut. Not always, but most of the time.

 

[apl]

Here's a useful article.

 

[Dogman]

What RAMI says will work very well. Cutting, not boosting seems to work better, at least to start. You can always bring levels up some later. Here is an article that may help. Read it, as it won't hurt. I've heard a few mixes Bruce has done on here, and they are very good, so he does know a bit about what he has posted.
http://www.bluebearsound.com/articles/mixing101.htm
Ed

 

[timboZ]

Dogman go back to the cave.........

Some good links.

http://www.theprojectstudiohandbook.com/articles6.htm



This book has a lot of good info in it.

http://www.amazon.com/exec/obidos/t...ding=UTF8&no=283155&me=ATVPDKIKX0DER&st=books

 

[SouthSIDE Glen]

General rule of thumb #1726 (): "Use EQ cut to make things sound better. Use EQ boost to make things sound different."

Here's a list of general frequencies by instrument that may help out:

BASS
50-80Hz bottom, 700Hz attack, 2.5kHz snap
Fundamentals - E1 to F4 (41.2 - 343.2Hz)
Pick/slap harmonics up to 4kHz

KICK
80-100Hz bottom, hollowness below 400Hz, 3-5kHz attack

SNARE
120-240Hz fatness, 900Hz ring, 5kHz crispness, 10kHz snap

TOMS
240-500Hz fullness, 5-7kHz attack

FLOOR TOM
80-120Hz fullness, 5kHz attack

CONGA
200Hz ring, 5kHz slap

CYMBALS/HI HAT
200Hz clang, 8-10kHz sparkle

ELECTRIC GUITAR
240-500Hz fullness, 2-5kHz presence
Fundamentals - E2 to D6 (82-1.174kHz)
Low impedance pickups amplify freqs above 5kHz but
guitar cables and amp responses tend to attenuate freqs above 5-6kHz

ACOUSTIC GUITAR
80Hz fullness, 240Hz body, 2-5kHz presence
80-100Hz sound hole resonants

ORGAN
80Hz fullness, 240Hz body, 2-5kHz presence

PIANO
80Hz fullness, 2-5kHz presence, 2.5kHz honky-tonk

VOICE
120Hz fullness, 240Hz boominess, 5kHz presence, 5kHz sibilance, 10-15kHz air

HORNS
120-240Hz fullness, piercing at 5kHz
Trumpet: Fundamentals - E3 to D6 (165-1.174kHz); Formants - 1-1.5kHz and 2-3kHz
Tenor Trombone: Fundamentals E2 to C5 (82-520Hz); Overtones - >5kHz (>10kHz overblown)
Tuba: Low fundamental B0 (29Hz); Overtones 1.5-2kHz
French Horn: Fundamentals B1 to B5 (15-700 Hz); Formants ~340Hz, 750-3.5kHz

STRINGS
240Hz fullness, 7-10kHz scratchiness
Violin: Fundamentals - G3 to E6 (200-1.3kHz); Formants - 300Hz, 1kHz, and 1.2kHz.
Viola is tuned 1/5th lower than violin and has fewer harmonic overtones.
Cello: Fundamentals - C2 to C5 (56 to 520Hz); Overtones < 8kHz.

WOODWINDS
Flute: Fundamentals - B3 to C7 (247-2.1kHz); Overtones to 3kHz to 6 kHz.
Clarinet: Fundamentals - C3 to G6 (139-1.57kHz); Overtones to 1.5kHz soft, 12kHz loud.
Tenor Sax (Bb): Fundamentals - B2 to F5 (117-725Hz); Harmonics to 8kHz; Breath to 13kHz.
Alto Sax (Eb): Fundamentals - C3 to G5 (140-784Hz); Harmonics to 8kHz; Breath to 13kHz.

 

[RhythmRmixd]

That's a hell of a chart! I think you forgot the maracas, though.

 

[SouthSIDE Glen]

That's a hell of a chart! I think you forgot the maracas, though.

I got yer maracas right here, buddy!

G.

 

[metalhead28]

another couple of good eq articles:

http://emusician.com/mag/emusic_equal_time/index.html

http://www.computermusic.co.uk/tutorial/eq/2.asp