Standard Drum EQ

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Harlequin Man

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For all of you who record drums or do live drums..

what is the standard EQ you can use..

i got a 3 band on my Behri mixer...

The High is fixed at 12 kHz(shelving type)
the mis is 100Hz to 8 kHz(semi paremetric peak filter)
The low is 80hz fixed(shelving type)

Let Me know...
 
Harlequin Man said:
For all of you who record drums or do live drums..

what is the standard EQ you can use..

i got a 3 band on my Behri mixer...

The High is fixed at 12 kHz(shelving type)
the mis is 100Hz to 8 kHz(semi paremetric peak filter)
The low is 80hz fixed(shelving type)

Let Me know...
Click to expand...
Is this for live or recording?
 
Harlequin Man said:
For all of you who record drums or do live drums..

what is the standard EQ you can use..

i got a 3 band on my Behri mixer...

The High is fixed at 12 kHz(shelving type)
the mis is 100Hz to 8 kHz(semi paremetric peak filter)
The low is 80hz fixed(shelving type)

Let Me know...
Click to expand...

How i would EQ a drum kit live/studio:

KICK -
Boost around 80Hz - 100Hz for "bass"
Cut around 300Hz to 500Hz for "posterity"
Cut around 200Hz - 600Hz to avoid conflict with other instruments
Boost around 2.5KHz for "attack"
*For "smack" sound = loosen head
SNARE -
Boost around 3KHz for "bang", 5KHz - 8KHz for "clarity/presence"
Boost around 100Hz to 250Hz for "bottom end"
Cut around 300Hz to 500Hz
*For "fat sound" = loosen head and snare a bit and cut low mids a bit and boost bass and highs a bit
*For "sharper sound" = tighten head & snare and boost highs & mids
TOMS -
Boost around 100Hz for "warmth"
Cut around the 300 to 500Hz
Boost around 5KHz to 8KHz for more "crispness"
Boost at 3KHz for "power" & sometimes 100Hz or 500Hz depending on song
*Cut area around 800Hz to eliminate "cardboard box" sound
*If you're losing toms in a mix with guitars boost around 3.5KHz
HIHATS/CYMBALS -
Cut around 200Hz
Boost 7KHz to 10KHz for "sizzle"
*If it's too bright cut 9KHz

all depends on your room too, sounds vary in different rooms, it could sound awesome in one room and completely shithouse in the next.

EQ certain frequencies you think need the most improving. It depends how you want it sounding.

Simple EQing

EDIT: Go onto a search engine there will be heaps of pages about EQing etc etc on google and stuff like that. :)
 
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There's no "standard" drum EQ for the studio, anymore than there is a "standard" drum sound.....
 
Blue Bear Sound said:
There's no "standard" drum EQ for the studio, anymore than there is a "standard" drum sound.....
Click to expand...

Amen!

You will only ever get guides on how to make things sound somewhat how they should. Its really down to your ears, Listen to records and listen to the drums, and then try Eq to what you feel is a good sound.

Its all about experimenting. ;)

- Idgeit
 
Just to echo what "BLUEBEAR" said, there is obviously no standard eq for ANYTHING. And even if there was, before you even get anywhere near your eq, there is so much you can and should do. Make sure you have new, or at least not dead, skins on your drums. Tune them well. Spend as much time as it takes to tune them. Experiment with mic placement. There is so much you should and can do before your fingers even touch an EQ.
 
RAMI said:
Just to echo what "BLUEBEAR" said, there is obviously no standard eq for ANYTHING. And even if there was, before you even get anywhere near your eq, there is so much you can and should do. Make sure you have new, or at least not dead, skins on your drums. Tune them well. Spend as much time as it takes to tune them. Experiment with mic placement. There is so much you should and can do before your fingers even touch an EQ.
Click to expand...

second that... :)
 
bcains said:
How i would EQ a drum kit live/studio:

KICK -
Boost around 80Hz - 100Hz for "bass"
Cut around 300Hz to 500Hz for "posterity"
Cut around 200Hz - 600Hz to avoid conflict with other instruments
Boost around 2.5KHz for "attack"
*For "smack" sound = loosen head
SNARE -
Boost around 3KHz for "bang", 5KHz - 8KHz for "clarity/presence"
Boost around 100Hz to 250Hz for "bottom end"
Cut around 300Hz to 500Hz
*For "fat sound" = loosen head and snare a bit and cut low mids a bit and boost bass and highs a bit
*For "sharper sound" = tighten head & snare and boost highs & mids
TOMS -
Boost around 100Hz for "warmth"
Cut around the 300 to 500Hz
Boost around 5KHz to 8KHz for more "crispness"
Boost at 3KHz for "power" & sometimes 100Hz or 500Hz depending on song
*Cut area around 800Hz to eliminate "cardboard box" sound
*If you're losing toms in a mix with guitars boost around 3.5KHz
HIHATS/CYMBALS -
Cut around 200Hz
Boost 7KHz to 10KHz for "sizzle"
*If it's too bright cut 9KHz

all depends on your room too, sounds vary in different rooms, it could sound awesome in one room and completely shithouse in the next.

EQ certain frequencies you think need the most improving. It depends how you want it sounding.

Simple EQing

EDIT: Go onto a search engine there will be heaps of pages about EQing etc etc on google and stuff like that. :)
Click to expand...

Wow, this is crazy! I just logged onto this forum to ask this exact original question. I have the exact same mixer config. and I am also mic'ing drums. I was about to ask what a good "starting point" is at which any professional drum tech would standardly set up a kit to be mic'ed in a typical recording session.
bcains, you gave a nicely accurate answer, but the problem or question I have is that our mixers only have the 3-band eq (Hi=12k, mid, a freq knob from 100hz-8khz, and a lo=80 hz) so how can we, for example, cut at 500hz if we don't have the 500hz knob? I really wouldn't know where to set the freq. knob, and it doesn't show on the mixer what hz or kz range the mid knob is. it just says 12k for hi and 80 for lo.
 
I have found that the best EQ is no EQ. You are better off trying different mic placements and using good quality mics rather that EQing. We often listen to a mix and try to figure out how the engineer EQ'd the damn thing, when in reality our minds think its EQ'd when its actually just the sound of the mics. You have to remember that mics don't hear the same way as our ears. They create that EQ'd sound all by themselves.

If I add anything, its 4k-6k boost on the kick for attack and 150hz for low end. On snare I'll boost the 2k and 6k ranges, but only a dB or two. On the overheads, I might cut some of the high end so the cymbals aren't harsh. Usually I leave it alone. Same with toms - no EQ.


 
EQ is for correcting the sound of something. You have to listen to the sound you have and determine what needs to be done to 'fix' it, if anything.
 
Farview said:
EQ is for correcting the sound of something. You have to listen to the sound you have and determine what needs to be done to 'fix' it, if anything.
Click to expand...

Sage advice Jason!
 
PhilGood said:
I have found that the best EQ is no EQ. You are better off trying different mic placements and using good quality mics rather that EQing. We often listen to a mix and try to figure out how the engineer EQ'd the damn thing, when in reality our minds think its EQ'd when its actually just the sound of the mics. You have to remember that mics don't hear the same way as our ears. They create that EQ'd sound all by themselves.

If I add anything, its 4k-6k boost on the kick for attack and 150hz for low end. On snare I'll boost the 2k and 6k ranges, but only a dB or two. On the overheads, I might cut some of the high end so the cymbals aren't harsh. Usually I leave it alone. Same with toms - no EQ.


Click to expand...

Your clips sound good, I like the kick on the second clip. Where you using a bunch of compression on the first clip? If so, was it somewhere in your chain, or did you just do it post to the whole track?

I understand your reply, so let's say we've already experimented with a lot of different mic positions, and have decent mics....Now we have the best sound we think we can get without eq'ing, now where should we go from there on our 3-band. How do you boost at 2k and 6k ranges if we dont have the capability of doing it post. And where to set the frequency (100hz to 8k).
Thanks
 
RecordingMaster said:
I understand your reply, so let's say we've already experimented with a lot of different mic positions, and have decent mics....Now we have the best sound we think we can get without eq'ing, now where should we go from there on our 3-band. How do you boost at 2k and 6k ranges if we dont have the capability of doing it post. And where to set the frequency (100hz to 8k).
Thanks
Click to expand...
First, read my post again.

Second, if you want to boost between 2k and 6k, where would you set the frequency? Think about this as long as you have to, the answer is right there.
 
RecordingMaster said:
Your clips sound good, I like the kick on the second clip. Where you using a bunch of compression on the first clip? If so, was it somewhere in your chain, or did you just do it post to the whole track?

I understand your reply, so let's say we've already experimented with a lot of different mic positions, and have decent mics....Now we have the best sound we think we can get without eq'ing, now where should we go from there on our 3-band. How do you boost at 2k and 6k ranges if we dont have the capability of doing it post. And where to set the frequency (100hz to 8k).
Thanks
Click to expand...

That's just it! The best sound you can get without EQ is probably the best sound you're going to get. EQ isn't meant to enhance, its meant to correct. Overprocessing usually doesn't make things sound better. If it doesn't sound right, then its probably tuning or the room. As Farview said, if you find an instrument that has a serious flaw and you can't get it where you want, THEN try EQ. Trust your ears!

Do a few test tracks and find where something does or doesn't stand out. Make a graph of your mixer and record the changes as you make them. I will almost always add some 6k to the kick as I'm recording, because I want that attack. I add some 6k to the snare too, because I'm not using a bottom mic. I probably will soon.

Yes, I compress the bass drum and the snare. I add it to the insert of each channel as I record. The second track is using a subkick in addition to the main mic. I can aslo add a touch of reverb in post and a little bit of compression to the whole track if it doesn't sound fat enough.
 
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Jason, thanks for the tips, I finally realized what semi-parametric eq is and how it works. Your treating me like a dumby opened up my eyes too.

Thanks for your replies PhilGood, you give great advice!
 
RecordingMaster said:
Jason, thanks for the tips, I finally realized what semi-parametric eq is and how it works. Your treating me like a dumby opened up my eyes too.

Thanks for your replies PhilGood, you give great advice!
Click to expand...
I wasn't trying to treat you like a dummy, it just seemed like you were so busy waiting for someone to give you the answer that you stopped thinking about it yourself. It happens to all of us.

None of this is really that hard, you just have to think it through.
 
No, I don't think Jason would treat you like a dummy! He's had to dangle the carrot in front of me a time or two. I'm often distracted by something shiny!!
 
Here's a little guide I follow for snares.

*taken from DarkSonus.com*

Snare:
<99hz: You don't want this!
100hz: Absolute lowest place to boost snare. Very 70's/80's sounding low end.

250hz: Tighter place to boost low end--results in fairly warm, woody snare sounds.

400-600hz: A lot of boxiness lives here--I usually cut this range no matter what type of snare sound I'm looking for.

1.2khz: A good place to get some thwack! in your sound. To get that Nirvana/Dave Grohl sound a boost here is recommended.

2khz: Generally this brings out the top end of shell resonance. I don't like this range myself, but it is great for punk/lofi snare.

3khz: You can get some edge and head noise here, but I find it interferes with the vocal too much. I usually ignore this.

4-5khz: This is the motherlode for *CRACK* sounds. A healthy boost here will add tons of definition and punch to your snare. Watch out--boosts here often make the high hat sound terrible; if you are gating your snare like I often do this isn't much of a concern. For extreme metal snares I've gone as much as +13db at 5k!

6-9khz: A lot of snare rattle and sizzle lives around here. Personally I don't like this range except for jazz drums. Another good place to boost lofi drums, however.... it adds trashiness to the snare.

10-12khz: This is often the top end of the snare and governs a lot of the brightness. A subtle boost here is often advised, but be careful because too much results in thin sounding snares.

13khz+ I don't recommend any boosts up here. Too airy and thin. If you did your homework with your other boosts you will be fine up here.

I also recommend limiting yourself to boosting only one low range, one midrange and one high range frequency. I always recommend a cut around 600hz to cut some boxiness. The trick is to find the *best* boost area and find a precise freq in that range to boost. If you boost too many areas all you've accomplished is messing up your phase angles and increasing volumes! Try to accomplish the most with the least boosting.
 
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