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How to EQ
Old 20th March 2017
  #61
Does anyone know how to do this with a modern VST EQ? What should I be looking for in the analyser?
Old 20th March 2017
  #62
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Quote:
Originally Posted by sashley520 View Post
What should I be looking for in the analyser?
turn it off. imo EQs should not have analyzers on them. they are just a distraction.
Old 21st March 2017
  #63
Quote:
Originally Posted by stinkyfingers View Post
turn it off. imo EQs should not have analyzers on them. they are just a distraction.
Oh okay that's interesting. So just go off what I'm hearing instead?
Old 21st March 2017
  #64
HSi
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Quote:
Originally Posted by sashley520 View Post
Oh okay that's interesting. So just go off what I'm hearing instead?
Does it make more sense to go of an image or what you hear?

Definitely, the display can be helpful, but surely if you're altering sound, you should be able to do it by the sound alone? It's becoming more common for eq's to be able to hide or tun off the graphs.
Old 23rd March 2017
  #65
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Of course you should go by the sound alone! Always! You just need to make sure your monitoring is accurate, as usual. Displays can be handy for learning, or shortcutting in certain circumstances, but you can always learn by ear as well with a bit of experimentation.
Old 29th March 2017
  #66
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EQ Tutorial

Hi there! I have a tutorial video that explains simple eq/mixing of drums. The information is easily applied to any sound as I explain my reasoning for what I do. Check out the video here:

https://youtu.be/uyBGLhkSdIk

You can also check more videos on the channel or at S u b s c h o o l - Blog

I hope this helps someone.
Old 30th May 2017
  #67
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Quote:
Originally Posted by matt thomas View Post
whilst fabfilter's videos are designed to be promos for their (fab) products, they also provide excellent general info on techniques:




matt
Wow!
Cool set up!
Old 29th June 2017
  #68
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I will have to revisit this. I couldn't hear anything significant on my phone speaker

Last edited by AudioWonderland; 29th June 2017 at 11:41 PM..
Old 29th June 2017
  #69
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zat a joke?
Old 29th June 2017
  #70
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Quote:
Originally Posted by Piedpiper View Post
zat a joke?
No. Phone speakers are ****. Barely useable for speaker phone. Worthless for critical listening
Old 29th June 2017
  #71
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Quote:
Originally Posted by AudioWonderland View Post
No. Phone speakers are ****. Barely useable for speaker phone. Worthless for critical listening
exactly my point. were you expecting different? just surprised you bothered...

always amazes me when someone chimes in about a comparison clip saying they hear no difference between an original Neve 1073 and a GAP 73 n turns out their "monitors" are their laptop...
Old 30th June 2017
  #72
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Quote:
Originally Posted by Piedpiper View Post
exactly my point. were you expecting different? just surprised you bothered...

always amazes me when someone chimes in about a comparison clip saying they hear no difference between an original Neve 1073 and a GAP 73 n turns out their "monitors" are their laptop...
no, I wasn't. All I had at the time though so I gave it a shot. GM is always worth a listen
Old 30th June 2017
  #73
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I hear that...
Old 2nd July 2017
  #74
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Having listened to this on on good cans, The result is certainly there. I find the frequencies he identified interesting and not really unique to piano/voice. Most instruments need a little tailoring in the 200-500 range as there tends to be a lot of build up there in many cases. 1-3k is also a sensitive area for most voices. Making room for things like this is not really new but this demo restates the idea in a different way for people.

I will admit, I did not hear anything wrong with the piano solo'd. Nothing "ringing" as he says. There is a reason I am not at his level I suppose. If it were a solo piano piece I am not sure I would have touched the 2k area. I didn't like the piano on its own nearly as much after the EQ was applied. Its only in the context of hearing it against the vocal that I heard there neede to be some space made for the vocal. I think George was "hearing" his experience mixing and knowing these are often problem areas a little bit along with the track but that is OK. That's the perk of hiring a GM.
Old 31st July 2017
  #75
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Does anyone have a good eq cheat sheet they could share? Sorry I'm a newbie.

Also could i get an in depth explanation what the"Hz" and "kHz" mean. I've been trying to eq stuff just by ear without really know what any of that stuff means
Old 31st July 2017
  #76
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Quote:
Originally Posted by waynetrain96 View Post
Does anyone have a good eq cheat sheet they could share? Sorry I'm a newbie.

Also could i get an in depth explanation what the"Hz" and "kHz" mean. I've been trying to eq stuff just by ear without really know what any of that stuff means
Wikipedia has all this stuff. Pick up a second- hand copy of Bobby Owsinski's 'The Mixing Engineer's Handbook' and read it cover to cover, with your DAW open to try stuff out.

Come back here when you've done that, and people on here will be happy to help with any questions.
Old 31st July 2017
  #77
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Quote:
Pick up a second- hand copy of Bobby Owsinski's 'The Mixing Engineer's Handbook' and read it cover to cover
Thanks, will do
Old 2nd August 2017
  #78
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Quote:
Originally Posted by waynetrain96 View Post
Also could i get an in depth explanation what the"Hz" and "kHz" mean
I am so unbelievably sorry that I opened the internets today...
Old 2nd August 2017
  #79
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Quote:
Originally Posted by chrismeraz View Post
I am so unbelievably sorry that I opened the internets today...
Google must be broken ....
Old 3rd August 2017
  #80
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yeah yeah yeah... but guys, this is the newbie question zone... really not the place to be shaming people for having the gumption to ask a question about something they, god forbid, don't know yet...

and to answer...

Hz stands for hertz and is a unit of measuring audio frequencies, which are literally waves of air compression effecting our ears. KHz stands for kilohertz and is simply thousands of hertz. 20 Hz is generally considered to be the lower limit of what can be heard by the ears as opposed to felt by the rest of the body. 20kHz is considered to be the upper limit of what can be heard by the ear, at least by most younger people without hearing damage. Most men older than about 50 don't hear much above 15kHz. The lowest note on a four string bass is around 41Hz. The lowest note on a normally tuned guitar is an octave above that at around 82Hz. The sibilance range where consonants like S, T, C are heard is from around 7-12kHz.

Bass frequencies are considered to be anything below about 250 Hz. I think of ultra low bass as being below 30 Hz, low bass as 30 to 60 Hz, mid bass as 60 to 120 Hz, upper bass as 120 to 250 Hz, low mids to be 250 to 500, mid mids to be 500 Hz to 1 kHz, upper mids to be 1 to 2 kHz, low treble to be 2 to 4k, mid treble to be 4 to 8k, upper highs to be 8 to 16k, and ultra highs to be 16 to 30k. Just a few reference points. Some people call even up to 6k upper mids but I think that is misguided and not helpful.

Not sure exactly what you mean by a cheat sheet for EQ but hope this helps a bit...

Last edited by Piedpiper; 4th August 2017 at 11:06 PM..
Old 3rd August 2017
  #81
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Quote:
Originally Posted by Piedpiper View Post
yeah yeah yeah... but guys, this is the newbie question zone... really not the place to be shaming people for having the gumption to ask a question about something they, god forbid, don't know yet...

and to answer...

Hz stands for Hertz and is a unit of measuring audio frequencies, which is literally waves of air compression effecting our ears. KHz stands for kilohertz and is simply thousands of Hertz. 20 Hz is generally considered to be the lower limit of what can be heard by the ears as opposed to felt by the rest of the body. 20kHz is considered to be the upper limit of what can be heard by the ear, at least by most younger people without hearing damage. Most men older than about 50 don't hear much above 15kHz. The lowest note on a four string bass is around 42Hz. The lowest note on a normally tunes guitar is an octave above that at around 84Hz. The sibilance range where consonance like S, T, C are heard is from around 7-12kHz.

Not sure what you mean by a cheat sheet for EQ but hope this helps a bit...
Quite right. I do apologize. I usually just " show new posts" and don't pay much attention to what forum they come from. This is indeed the correct forum for such questions. Thank you for getting him an answer.
Old 3rd August 2017
  #82
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easy to do when the question seems beyond the pale...

Quote:
Originally Posted by waynetrain96 View Post
Does anyone have a good eq cheat sheet they could share? Sorry I'm a newbie.
Speaking of cheat sheets, one thing that I routinely use is a HPF or High Pass Filter (meaning it passes high frequencies but not low ones). I usually use a "first order" roll off of 6dB per octave, on anything that could benefit from cleaning up the low end, even if it's not obvious. I often find that even electric bass, especially when recorded direct, can benefit from a low cut at 30 or even as high as 100 Hz depending on the sound of the bass and how I want it to sit in the mix. A HPF on guitar can leave more room in the mix for bass, toms, lower end of keyboards, and vocals. A faster roll off will create more phase distortion well into the audible range and will change the sound more aggressively, thus my preference for the minimal 6dB/octave filter. Don't be afraid to experiment with over doing it. Try raising the frequency of the roll off until it starts to sound too thin and then back off until it strikes the right balance of warmth and clarity. Another hot spot is the low mids around 300 Hz. This is known as the mud zone. If the HPF doesn't clean things up enough, or you need to maintain more of the lows, sometimes a drop in this area of a dB or two can help.

FabFilter ProQ has an excellent interface that shows you graphically the frequencies in the track and how they are effected by whatever EQ is applied. Plugins like this with good graphic representations of what is going on can be invaluable learning tools for augmenting your ears. You will often see quite a bit of useless stuff going on the low bass that is well below what you may think you're hearing. Build up in this area can muddy the mix, conflict with what you do want to hear down there, and tax the playback amplifier unnecessarily.

You have to prioritize the mix, often in favor of the vocals, no matter how attached you are to what you might like about the tone of an individual track when soloed. Balance is always the trick. Overdoing things will make things sound weird and draw attention to the artificiality, though sometimes exaggerated artificiality is what one wants.

A lot of people will tell you to try cutting before you boost. For instance, if you cut the low end with a HPF you may not need to add top end or anything else to make it bright enough. One thing to try is to put on a 3dB boost with a Q of 2 and sweep through the frequencies so you can hear and identify what those frequencies are and the effect they have. Then you can decide what you want to do with them. Start by boosting, even if you ultimately want to cut them, just so you can correctly identify the quality you want to cut. Then experiment with the Q, which is the width of the range of frequencies effected. Higher Q effects a narrower range of frequencies and vice versa. A Q of 1 effects one octave; a Q of 2 effects half an octave; a Q of .5 effects two octaves; etc..

There are no hard n fast rules. In the end, whatever works works.

Whatever you do, YOU HAVE TO HAVE GOOD RELATIVELY ACCURATE MONITORING, which is surprisingly hard to accomplish. Even the best speakers are very hard to get to be flat and accurate in a room, and there are virtually no headphones that are perfect in this regard, so you must work at getting something that is reasonably close to right, and then learn how they diverge from accurate. Otherwise you will have no basis for fixing it in the mix, not to mention tracking it well in the first place.

Hope that helps.

Last edited by Piedpiper; 6th August 2017 at 08:22 PM..
Old 8th August 2017
  #83
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I hope a Gearslut can help me...
It may not be exactly about EQing, but I couldn't find a better place to ask (if any pro will show me the right thread I'll go there).
Anyway, my problem is:
I'm recording my tracks, however, there is always a small loudness difference between left and right.
Does L/R loudness needs to be the same?
Tried almost everything, small changes here and there but I fear that if I put too much in the right, it will kill the track.
Thanks for any help...
Old 9th August 2017
  #84
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I'm sure some people will disagree with my approach but it's worked well for me.
I don't have a treated room for mixing and mastering, so when it comes time to do my final EQ, I used Logic's "Match EQ" to compare my finished song to a professionally mastered reference with a similar sonic landscape to what I'm going for.

As an example, I've recently been recording simple acoustic songs, just hushed acoustic guitar and vocals. I used "Match EQ" to compare my songs to Ryan Adams' 'In My Time Of Need' and then boosted and cut my master linear EQ accordingly. Here's the end result:
https://soundcloud.com/akilaakso/sylvi
Old 9th September 2017
  #85
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sometimes and i mean Sometimes, a Pultec EQP of some sort can do wonders to control the low end. On the master. It kinda takes the work out of channel EQ especially bass.Very lightly, because it can be drastic as soon as you touch the atten knob. Careful decision. It almost feels like compression.

The huge question for me, is which frequency to use on the low end because they all sound good and have a certain quality

i think it is tough to do, but you can look at the compression settings on bass again after using the Pultec on the master. Again That is rough.
Old 9th September 2017
  #86
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^ this is in reference to the UA Pultec emulation
Old 13th September 2017
  #87
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Please help

For the longest time ive suspected that someone was breaking into my moms apartment and i finally got it recorded but only the audio portion. Ive tried to clear it up so that i can have better material to identify who they are but have failed. Im including the link to the video, any assistance would sincerely help an old lady. https://drive.google.com/file/d/0Bz1...w?usp=drivesdk
Old 15th September 2017
  #88
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Old 15th September 2017
  #89
I have an EQ/tracking question.. When close mic'n a hihat, sometimes there seems to be a little more low end there than what I hear on most recordings. Do you have this problem? and do you usually fix it with HPF, or Do you move the mic around till the low end is out, or a combination of both? Right now I've just been using a HPF and taking it up to 500-700 hz. Not sure if that is a good way to do this.
Old 16th September 2017
  #90
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Quote:
Originally Posted by toastedgoat View Post
I have an EQ/tracking question.. When close mic'n a hihat, sometimes there seems to be a little more low end there than what I hear on most recordings. Do you have this problem? and do you usually fix it with HPF, or Do you move the mic around till the low end is out, or a combination of both? Right now I've just been using a HPF and taking it up to 500-700 hz. Not sure if that is a good way to do this.
that's the way to do it... you can go much higher if you use a first order 6 dB per octave filter, which will also minimize phase issues. The spot mic on a hat is only for the the upper high frequency highlighting, unless you're using it to capture the rest o the kit.
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