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] If you would like to support our channel please feel free to subscribe, and head over to our website to check out all of our sample packs, preset packs, MIDI packs, courses, and blog posts we have to offer. We appreciate all of the love and support. www.makepopmusic.com www.youtube.com/makepopmusic www.facebook.com/groups/makepopmusic 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
