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Kuunvalo
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#1 kirjoitettu
10.06.2006 19:09
A lot of you may have already seen this as its been posted on countless production forums across the net
I'm not sure of its original origin or poster but legend says it was from the 'Future producers forum' If you know differently then please correct me
For those of you that haven't seen this...Take a look!. It is very usefull indeed & easy to understand (Even to this day lots of production lingo still makes me go cross eyed)"
The EQ Table
Understanding EQ/Everthing in its own space
Let me first start this off by saying, "I don't always understand my title of this forum"
But I thought this would be cool to explore and examine.
I assume that we all know that the range of what most humans can hear runs from 20 hz to 20khz,
so from 20 to 20,000 frequencies per second is all the human ear can deal with.
Those lower frequencies around 20 to hmmm about 100 maybe 200 are felt,
just as much as they are heard. Ever wonder why that is so? Why does your shirt and chest
rattle in the night club when the bass and kick are pounding away? Those low frequecies are full
of energy, and that energy can actually attempt to move what it is trying to go through.
Sound is energy, plain and simple, just like a vehicle driving down the road at 60 mph,
put an object in front of it, and both sound and the vehicle are going to attempt to plow
through it. The lighter the vehicle and the higher the frequency, the less energy either have
when impacting the wall, therefore the less ability they will have to move what they are hitting.
Some are so lightweight they just bounce right back the other direction until they hit
something the in the other direction.
So, this means the low frequencies are full of energy and the higher ones are just a bunch of
lightwieghts bouncing all over the place. Now take this one step further.
Let's say you made a track with a thunderous bass, man it just vibrates the crap out of your
shirt and is cool as hell, but then you have the amp from hell to drive that track.
Next thing you do is burn the CD and run out to your car, but it sounds like crap.
My god how can this be? You just created the next million seller and your car stereo is
ruining it.
Well in your studio at 100 watts there is plenty of energy for all of your little freq buddies
to play and be happy, but pop it into the car stereo with maybe 20 watts and there just
isnt enough juice to go around. Somebody is not going to be heard.
So the big energy robbing heavy hitters get their way and the little bounce off the wall wimps
get left in the dust. It is only going to sound like one big bass/mudd line.
Ok so now we know that the lower freq's need to be restrained just a little, so we put some
roll off below 50. (Side note, personal choice on where to roll it off) Now that lets the
weaklings play along side the heavy hitters down at the bottom, but wait, it still sounds like
mud. Damn it, what is going wrong here.
Now we have to think about other things and this is where it can get even more complicated.
Let's say for arguments sake that you have 10 instruments playing in your track.
Every instrument is going to have, what I like to think of as, its dominant frequecncy range.
And some of this I am going "off the cuff" because I can never remember the ranges of all of
these instruments, so I always go back and check my notes.
Bass and kick are going to be in that low high energy group from 20 to about 200,
but then they are going to have harmonics that reach out beyond that, maybe even up into the
4000 freqs or more.
Keyboards are going to be in that 400 up to 3000 with harmonics beyond that.
Snares ride in the 400-1000 depending on tuning with harmonics
Vocals same thing and on and on.
Now you can see that things start to build up in the middle, somewhere between 400 to 8000
and all the stuff beyond are generally the harmonics all of these intruments produce.
It is in that 400 to 8000 range that you have to carve out little nitches for all of those
instruments that sit there. If they all try to occupy the same place at the same time,
then someone is going to lose and it all sounds like a muddy mess.
If you didn't capture the perfect sound that sits just right, EQ becomes your trusty fix.
This is your swiss knife to carve up that precious little space of frequency spectrum and
hand it out to each instrument. With EQ you are giving each instrument, the boundaries
where it is allowed to play and be heard. No more, no less.
So exlcuding the kick and bass which you held back at below 50 hz you have, not including
the snare, toms and cymbals, about 5 instruments that you really need to deal with.
Those 5 have to be carved up into frequency nitches to allow them to be heard.
This doesnt mean that you take instrument 1 and roll it off at 300 and 600 and instrument
2 at 600 and 1000 etc. If you did that it would sound like a bad AM radio.
It means you use cuts and boosts to give each one its prominent space.
What one gets the other doesn't and vice versa and in the end you have 10 instruments all
happily being heard.
I hope others jump in and offer some opinions.
And I hope the newcomers understand that using EQ is not something you use,
"just because", but a tool to carve out niches for all of your instruments to sit inside
the limited frequency spectrum of 20 hz to 20 khz. Of course panning, volume and reverb can
even play into this, but for now we are only thinking about frequencies.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Instrument Frequency ranges
To understand EQ and its intricacies you need hands-on experience, but to help you get started,
here's a table of general uses and the different ranges that EQ can affect.
As every sound is different, though, these are necessarily very general guidelines...
Kick Drum
Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to
add some high end.
50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss
Snare
Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around
6kHz for that 'snappy' sound.
100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence
Hi hats or cymbals
Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small
boost around 3kHz.
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Bass
Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.
If more presence is needed, boost around 6kHz.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss
Vocals
This is a difficult one, as it depends on the mic used to record the vocal. However...
Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost
around 6kHz to add some clarity.
100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness
Piano
Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz
to add some clarity.
50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss
Electric guitars
Again this depends on the mix and the recording. Apply either cut or boost around 300hz,
depending on the song and sound. Try boosting around 3kHz to add some edge to the sound,
or cut to add some transparency. Try boosting around 6kHz to add presence.
Try boosting around 10kHz to add brightness.
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss
Acoustic guitar
Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around
1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.
100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
Strings
These depend entirely on the mix and the sound used.
50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness
EQ Tables
__________
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 bass lines in Rap and R&B.
__________
100Hz
Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
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.
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.
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Ladataan
