MAKE POP MUSIC - EQ CHEAT SHEET
Written by: Austin Hull
What is EQ?
Equalization (EQ) is the process of adjusting the balance between frequency components
within an electronic signal. Since equalizers "adjust the amplitude of audio signals at
particular frequencies," they are, "in other words, frequency-specific volume knobs"
(Wikipedia)
When and Why Do You Use EQ?
Eq should be used to balance out the frequency range of an element. If something has
too much bass, mids, or treble, using an EQ to tighten up those areas can make a huge
difference in terms of their sonic balance. You can also use EQs to creatively sculpt
sounds, think of the telephone effect where you use an EQ to cut out the lows and highs
to just leave those honky and ringy mid tones. Anytime you want to adjust a frequency
for any reason, head for an EQ.
Different Types of EQ:
Graphic EQ - “A graphic EQ typically consists of a bank of slider controls used to boost
or cut fixed frequency bands. A well-designed graphic EQ creates an output frequency response
that corresponds as closely as possible to the curve displayed graphically by the sliders.
Designers of analog EQs must carefully choose the bandwidth of the filter and decide how the
bandwidth should vary with gain and how the filters are summed or cascaded. In general,
narrower bandwidth signifies a more precise EQ. In general, most graphic EQs have between 7
and 31 bands.” (Presonus)
Parametric EQ - “The parametric EQ is a mainstay of recording and live sound because
it offers continuous control over every parameter. A parametric equalizer offers continuous
control over the audio signal’s frequency content, which is divided into several bands of
frequencies (most commonly three to seven bands).” (Presonus)
Dynamic EQ - A dynamic EQ is an EQ that is set with a threshold, similar to a
compressor, that will kick in when a certain amount of a frequency breaks the threshold. If you
want to remove a nasty overtone in a vocalists low end (say around 250 hz), you can use
something like a dynamic EQ to tighten up that resonant spike when it comes in, but you won’t
have to fully cut the 250hz region with a static eq cut, which could make the vocal too thin.
Parts of an EQ:
Frequency - What frequency you are affecting with this instance of EQ.
Q - How tight your frequency curve is responding. The higher the Q, the more narrow
and tighter the EQ move is.
Gain / Amount - How much of the EQ you are using. The more you pull it down, the
more of the frequency it will take it, the more you pull it up, the more you add in.
Types of EQ Curves:
Bell Curve - The most common curve on EQ. It is the most versatile because you can
normally adjust the Q on a bell to capture as broad or narrow of a frequency as you need for
your EQ moves. These are great for sculpting a sound and doing some general tone
adjustments.
Notch - Similar to a bell curve, but much more narrow and deep. These are perfect for
removing really gnarly and aggressive frequency issues in a mix. If there is a really bad
room mode, or sharp spike on a guitar amp, etc. However, these can gut a sound if you
use them too liberally.
High Pass / Low Cut - A high-pass is a filter that will remove anything below the cutoff
point. Think of this as a chopping block for any frequencies outside of the range. In the
picture below, anything in the grey is being removed.
Low Pass / High Cut - A low-pass is a filter that is the exact opposite of a high pass.
This will remove anything above the cutoff area. In the picture below, anything in the red
is being removed.
High Shelf - A high shelf will boost or lower all frequencies above the starting point of
the EQ curve. Think of it as a gradual increase until the end of the frequency spectrum.
This can be great for making something more or less bright, but still keep the overall
balance of the top end while shaping it as a whole.
Low Shelf - A low shelf will boost or lower all frequencies below the starting point of the
EQ curve. Think of it as a gradual increase until the bottom end of the frequency
spectrum. This can be great for making something more or less thick, but still keep the
overall balance of the low end while shaping it as a whole.
Areas of the Frequency Range:
Be careful with over generalizing each range of the frequency spectrum. It can be easy to fall
into traps and start EQing with your eyes and brain more than your ears. However, learning
some of the general characteristics of each range may be able to help you pinpoint where an
issue in your mix or element is sitting. Knowing the general characteristics of what a certain
frequency sounds like can cut down the time guessing at frequencies and soloing out bands.
Just remember that every sound source is different and should be treated as its own thing. I like
to follow this general guideline:
If things are causing issues, try notches or bell cuts here:
Rumble - >30 hz
Sub - 30-70 hz
Bass - 70-120 hz
Boom - 120-250 hz
Mud - 250-400 hz
Honk - 400-800 hz
Tinny - 800-1200 hz
Nasally - 1200 - 2k hz
Piercing - 2k-4khz
Sibilant - 4k-6k hz
Whistle - 6k-8khz
Second Sibilance - 8k-11k
Air - 11k-15k
If you want to add something with EQ to a sound try this:
Add Sub / Thump - 40-70hz
Add Punch - 70-120hz
Add Body - 120-250 hz
Add Warmth - 250-500hz
Add Forwardness - 500-1k hz
Add Intelligibility - 1k-2k hz
Add Brightness - 2k-5k Hz
Add Sizzle - 5k-10k hz
Add Air - 10k-20k hz
How to Get Your Mixes Much Tighter:
Working with EQ can get things sitting much better in a mix, it can make a mix smoother or
more aggressive, and nailing the frequency balance of a mix is one of the first steps to creating
a professional level mix. If the frequency balance is whacky, you won’t be able to compress
anything without it becoming very overwhelming, very quickly. If your sounds are too broad then
adding reverb and delay will quickly make a mix muddy. Make sure every sound has its own
frequency range that it can sit in and be comfortable in, but make sure that the mix as a whole is
gelling together. You don’t want everything so separated that it sounds like you had 20 different
decent sounding elements just thrown together. I highly suggest spending time with your EQ
tools and getting to know them inside and out, and I also recommend looking into ear training so
you can start to pinpoint where problem areas are in your frequency spectrum. As always,
remember that every song, every performance, and every mix is different so use your ears and
your judgement over everything.
I hope this guide helps you. If you have any questions, please shoot a message over to
[email protected]
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Much Love,
Austin Hull
References:
https://iconcollective.edu/types-of-eq/
https://en.wikipedia.org/wiki/Equalization_(audio)#:~:text=In%20sound%20recording%20and%2
0reproduction%2C%20equalization%20is%20the%20process%20commonly,audio%20system
%20using%20linear%20filters.&text=Since%20equalizers%20%22adjust%20the%20amplitude,f
requency%2Dspecific%20volume%20knobs%22.
https://www.presonus.com/learn/technical-articles/What-Is-a-Parametric-Eq#:~:text=The%20par
ametric%20EQ%20is%20a,commonly%20three%20to%20seven%20bands).
https://www.presonus.com/learn/technical-articles/What-Is-a-Graphic-Eq#:~:text=A%20graphic
%20EQ%20typically%20consists,or%20cut%20fixed%20frequency%20bands.&text=In%20tradit
ional%20graphic%20EQ%20designs,mix%20for%20a%20particular%20room.
Pictures Depict:
Fabfilter Pro-Q2
Fabfilter Pro-Q3
Slate Digital FG-S
Izotope Neutron
Waves SSL Collection
Logic Parametric EQ
Neve 1073
BSS Opal Graphic EQ
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