028 | COMPUTER MUSIC JULY 2005 TUTORIAL

make music now EQ for beginnersmake music now

JARGON BUSTER3 PARAMETRIC EQA type of EQ plug-in that offers a very fine degree of control, using three parameters for each band: frequency, Q-factor and gain.

3 Q-FACTORSets the width of the EQ band. High Q values allow for very specific or narrow adjustment, but can sound quite resonant and unnatural.

3 NASALA term used to describe excess power in the frequency band around1kHz (600Hz-1.5kHz). Use a parametric equaliser with a low Q value to fix this problem.

3 ‘BOXY’A word used to describe excess power in the frequency band around500Hz (300-800Hz). Use a parametric equaliser with a medium Q value to remedy this.

EQThis month we get to grips with one of the most important tools in the plug-in workshop – EQ

THE ESSENTIAL GUIDE TO...

EQ IS ONE OF THE HARDEST TOOLS TO MASTER, REQUIRING PRACTICE, EXPERIENCE AND LOTS OF PATIENCE

H aving already covered most of the basic types of effect in our Essential Guide series, it’s now

time to look at equalisation, or EQ for short. EQ is among the most versatile tools we have, but it's also one of the hardest to master, requiring practice, experience and lots of patience.

All sounds which are audible to the human ear fall in the sonic spectrum, that runs from 20 cycles per second (20Hz) to about 22,000 cycles per second (22kHz). Although the spectrum is obviously continuous (any frequency value is possible), certain parts of it are well known for exhibiting particular

audible characteristics. For example, if a hi-fi speaker emphasises frequencies around 1kHz, it could be said to have a ‘nasal’ sound. If the same speaker is not very efficient when it comes to reproducing frequencies between 100 and 500Hz, it might be described as having a ‘thin’ sound.

In order to make effective use of EQ, it’s important to train your ears to link perceived sonic qualities with particular frequency bands – this skill will allow you to quickly enhance a sound in a predictable way, or correct a tonal deficiency without having to get your bearings by experimentation first. cm

NEXT MONTHCHORUS

FREQUENCYThis is used to control the centre frequency of one of the EQ bands

EQ CURVEThis curve graphically depicts the frequency response of each of the individual filters as well as the plug-in as a whole

QThis controls the range of the filter each side of the frequency band. Use low Q values to get a more natural sound

GAINThis controls the amount of boost or cut applied by the band. Try to use cuts rather than boosts, as a general rule

LIM/SATUse these two buttons to select the saturation model required to give the right amount of ‘analogue warmth’ to the sound

FATThis option enables a high quality filtering technique which improves the accuracy of an EQ plug-in, particularly with higher frequencies

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Q&A focusmake music nowEQ for beginners

WHAT IS IT?As we’ve established, EQ is primarily a tool for manipulating the relative balance of frequencies within the audible spectrum. ‘Er, what?', we hear you cry. In simpler terms, it's a tool for changing the tonal balance of an individual sound or a complete mix. Several different types of EQ exist, ranging from simple tone controls, which are used to accommodate broad adjustments, right through to parametric equalisers and notch filters which can operate with surgical precision on very specific frequencies.

With any equaliser, particular settings will modify the frequency spectrum of the incoming signal in a certain way, and this is generally characterised by the use of an EQ curve. An EQ curve is best viewed graphically, in order to give a clear, visual representation of the impact the current settings are having on the signal that's being processed.

Some parametric equalisers (see Five To Try, below) also offer a spectrum analyser that plots out the current frequency content of the signal in real time. The spectrum analyser is often placed directly behind the EQ curve, allowing particularly accurate and convenient EQ adjustments to be made while monitoring the incoming signal (both graphically and aurally).

While some equalisers offer one set of parameters that operate on both left and right channels, others offer independent settings for each channel.

One of the most common applications for EQ is problem solving – cutting out noise or interference, or taming excessive peaks at particular frequencies. Most real mixers offer a low-cut button that reduces the level of the signal below 100Hz; this is particularly useful for removing mechanical microphone noise, for example.

In the virtual studio, where the majority of signals are completely noise and interference-free, EQ can still play an important part in sculpting the tonal balance of sounds produced entirely within the digital domain – ie, inside a computer. It can be used to subtly enhance or emphasise a particular characteristic of a sound, or radically alter the sound with more extreme settings. Hence, this is one of the most versatile effects in the plug-in rack.

EQ is used heavily during the mixing process, usually to craft individual sounds so that they fit together properly in the mix. It’s also often used on entire mixes as the first step in the mastering process (to provide tonal balance and correction of the entire mix). It's particularly important to use a good quality, natural sounding plug-in when applying EQ for such purposes.

As we’ve already seen, equalisation can be used in a number of different situations, so we’ll try and pass on some general advice here that's going to be relevant to most typical applications.

When making any EQ adjustments, try starting off by setting one band to a fairly drastic boost, then sweep the frequency up and down to find the particular range of frequencies you want to operate on. Having set the frequency, adjust the Q value and gain until you achieve the result you're looking for.

Generally speaking, it’s good practice to use an EQ plug-in to cut rather than boost (although cutting one frequency can be viewed as boosting all other frequencies!). Try to picture a stone mason chipping away unwanted marble to carve out a statue, rather than gluing on left-over chips from elsewhere. Or something like that.

Although EQ plug-ins are generally very system/CPU friendly, it’s a good idea to avoid any unnecessary adjustments, as unless you have a good, high end plug-in, the sound may end up losing its focus and, as a result, its impact in the mix. In other words, make sure you’ve switched off any unused bands and always try to use conservative settings where possible (small boosts/cuts with wide Q values). Follow these general guidelines and you'll be on your way to mastering the art of EQing!

WHAT'S IT USED FOR? HOW DO I USE IT?

3 Shure thing: EQ will remove any nasty mic-related noises, like sibilance and breathiness from vocals

FIVE TO TRY...DiscoDSP EQ30www.discodsp.com

ParEQwww.ntrack.com

HarmoniEQwww.voxengo.com

NyquistEQmagnus.smartelectronix.com

Fruity Parametric EQwww.pluginspot.com

3 The track sounds a little nasal. Set one of the parametric EQs to a high Q value with high gain, then sweep the frequency to find the resonant frequency

around 440Hz. Widen the Q factor to about 0.55 and apply a small cut. Click the PROC button to compare the sounds.

2 In MasterQ, enable the bass rolloff, setting the frequency to 38Hz and the Q value to 0.48. Removing the excess bass will free up headroom, allowing the level of the

whole track to be raised. Click the right Lim-Sat button to turn on Vintage Limiting. >>

1 Start FL Studio and load the track Toby-Striker (found in the Projects»Cool stuff folder). Disable the Fruity Parametric EQ and Limiter placed in the master

channel and load the DirectX version of PSP MasterQ (the VST version has a compatibility issue with FL Studio). >>

STEP BY STEP Applying equalisation in FL Studio with PSP MasterQ

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