EQ Help Needed

Discussions on sound production outside the synthesizer such as mixing, processing, recording, editing and mastering.
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JSRockit
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EQ Help Needed

Post by JSRockit » Fri Aug 03, 2007 12:41 am

I'm trying to understand EQ and have a hard time figuring it all out. I try to read stuff around the internet and saw this article:

http://www.sweetwater.com/expert-center ... 04/23/2004

It's very basic info and not a solution to all problems...but the one thing these types of articles never discuss is Q settings. Using the example above, which I know is not a catch all solution and just a rough estimate, what types of Q settings should I be using?
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Post by wiss » Fri Aug 03, 2007 3:38 am

trial and error.....

burn each mix....

have other people listen and get input...

forget about the tech side of it....

YOUR EARS WILL NEVER FAIL YOU
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Post by GeneralBigbag » Fri Aug 03, 2007 5:05 am

I find the smiley face (low boost, high boost, low Q mid cut) works well as a starting template, if I have another band/notch, I do a high-Q high boost sweep to find the sweet/mud spot and boost/cut accordingly.
Really, like Wiss says.
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Post by Cruel Hoax » Fri Aug 03, 2007 6:35 am

I generally use broad bandwidth (lower Q) when boosting, and narrower bandwidth (higher Q) when cutting. I try to keep my boosts subtle, but sometimes a snare or a vocal is just begging for severe EQ on a fill or a word to bring it out. When cutting, I'm usually shooting to remove a "ringing" target frequency, and so a narrower bell curve helps target only that "trouble zone."

Obviously, this is only a rule of thumb. Sometimes I'll get in a vocalist who's recording to a mixed instrumental track. I almost always have to notch out a little space for the vocals to live (and not fight with the strings/horns/synf that's mixed too damn loud in the 2-mix) and this often uses a wide and a narrow cut, so as to sound more natural, yet targeted.

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Post by JSRockit » Fri Aug 03, 2007 1:59 pm

Cruel Hoax wrote:I generally use broad bandwidth (lower Q) when boosting, and narrower bandwidth (higher Q) when cutting. I try to keep my boosts subtle, but sometimes a snare or a vocal is just begging for severe EQ on a fill or a word to bring it out. When cutting, I'm usually shooting to remove a "ringing" target frequency, and so a narrower bell curve helps target only that "trouble zone."

Obviously, this is only a rule of thumb.
-Hoax
At this point I am stuck on bass and bassdrums... should I use your broad for boosting, narrow for cutting technique on these two as well?
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Post by wiss » Fri Aug 03, 2007 8:37 pm

mix the drums 1st.....then bring in the bass...

I never mix two things at once....I bring in one thing at a time..
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Post by JSRockit » Fri Aug 03, 2007 8:56 pm

wiss wrote:mix the drums 1st.....then bring in the bass...

I never mix two things at once....I bring in one thing at a time..
I do that already...but if these things are conflicting...which they generally do, I have no choice but to listen to them together right?
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Post by OriginalJambo » Fri Aug 03, 2007 8:59 pm

Here's some good tips my lecturer gave us.

1) Boost a Hi-Q band by loads (6-12 dB) and sweep the frequency to find out the parts of the spectrum you like the sound of and don't.

2) Cut what you don't like.

3) Boost what you like.

Seems like a good way to get the tone you are after.

My advice?

Roll off the bass on the non-bass instruments and roll of the treble on the bass.

Try and get all the instruments from fighting for the same area of the audio spectrum.

I find I tend to cut a lot more than boost as I don't want the track clipping.

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Post by GeneralBigbag » Fri Aug 03, 2007 11:49 pm

JS, could the trouble be that you have a lot of shared frequences between the bass line and your kick drum (or something similar)?
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Post by nathanscribe » Sat Aug 04, 2007 12:29 pm

I find EQing difficult. After a while I have no idea what I'm listening to. I can A/B the before & after, and lose any sense of what I'm supposed to be doing with it. A bit shambolic, really...

I do however find that I boost relatively high frequencies on bass drums, and lower on bass lines, in order to get punch in the rhythm. And I have also found that filtering out a lot in pads and leads works well. I just can't spend too long doing it, that's all.

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Post by JSRockit » Sat Aug 04, 2007 7:01 pm

nathanscribe wrote:I find EQing difficult. After a while I have no idea what I'm listening to. I can A/B the before & after, and lose any sense of what I'm supposed to be doing with it. A bit shambolic, really...

I do however find that I boost relatively high frequencies on bass drums, and lower on bass lines, in order to get punch in the rhythm. And I have also found that filtering out a lot in pads and leads works well. I just can't spend too long doing it, that's all.
Yeah, this is exactly how I feel...but I'm going to change that I hope. I'm just going to try harder. I guess it doesn't help that I use an untreated room and my ears aren't that great. They are getting better though.
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Post by hyphen nation » Sat Aug 04, 2007 11:52 pm

JS, I feel your pain...

I have been rushing to do this recording for a compilation that a friend is putting out, and I am tearing my hair out trying to get the right sound...

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Post by wiss » Sun Aug 05, 2007 3:17 am

are you using a analog/hardware mixer or software mixer.

how are you mixing....headphone, moniters

are you testing it out on a bookshelf or cheapy boombox....


have you tried just eqing the bass until you like it and then mixing the drums by thier self? then bring them together aftwards?

three mixing stories....

1. A band I am a fan of and friends with. They took 2 weeks to record thier record, then 8 months mixing...reverb was main issue...odd thing is that the final mix wasnt much different than the 1st orginal mix they made.

2. A friend of mine recorded a record over a 3 months period using a decent home reel to reel set up(16 tracks)....he had trouble mixing it, too involved.....I went over and we mixed the the s**t over a weekend...all he had to say after wards is that one track he wish there was more bass...but it was too late because he sent the DAT to be pressed on CD

3. I had a fried who is sound engieneer, it took him a year to mix his record. When I finally got hear the final product I just kept asking why this and why that. I had a lot of his early mix's...it came down to the weaker songs in his mind, he thought he could make it better thru the mix....golden rule when coming to mixing, you cant polish a turd


you can get stuck here if your not careful....sometime its just better to have someone else mix it that you trust thier ears....
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Post by JSRockit » Sun Aug 05, 2007 2:30 pm

wiss wrote:are you using a analog/hardware mixer or software mixer.

how are you mixing....headphone, moniters

are you testing it out on a bookshelf or cheapy boombox....

Software: Logic
I use monitors first, then computer speakers with a sub, then bookshelfs, then back to monitors, and always check on headphones too.

However, that's not the issue... the issue is my inability to come to terms with EQ.
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Post by JSRockit » Sun Aug 05, 2007 2:32 pm

wiss wrote:golden rule when coming to mixing, you cant polish a turd

you can get stuck here if your not careful....sometime its just better to have someone else mix it that you trust thier ears....
I hear ya, but I'm not putting out records, so I have to mix my own. I have no friends that do this either. I'm basically trying to get a bit more volume out of my songs without having to limit the h**l out of them. I figure, since I wasn't EQing much, that I could carve some interfering frequencies out of my mixes and this would allow more headroom... is this not true?
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