n00b EQ questions for guitar
- Thread starter Laneismusic
- Start date
MarcusGHedwig
Member
[ame]http://www.amazon.com/Modern-Recording-Techniques-Seventh-Book/dp/0240810694/ref=sr_1_1?ie=UTF8&s=books&qid=1271898678&sr=8-1[/ame]
Come back after you've read it
Come back after you've read it
Seth Munson
How do Amber Lamps?
dont mean to be a dick and go OT
but why do you post your age in ever post?
and why does it matter?
AudioPhile777
Mathew Cohen
Maybe he's hoping people will have pity on him for posting such inane, rudimentary questions?
pipaguapique
Remember Me
try to download a book like the one Marcus suggested...but really, get one and read it.
download a video tutorial. this one will really help you im serious>
http://www.secretsofthepros.com/mrm.html
download a video tutorial. this one will really help you im serious>
http://www.secretsofthepros.com/mrm.html
Seth Munson
How do Amber Lamps?
i guess.
im starting every post from now on with,
"Hey, Im Seth and I am only 20 years old, can i has your POD presets pl0x?"
but Lane, no hate man. just sayin ago doesnt matter.
smy1
Member
This is both wrong!!!!
High Pass Filter = everything ABOVE the frequency stays = http://en.wikipedia.org/wiki/High-pass_filter
Low Pass Filter = everything BELOW the frequency stays = http://en.wikipedia.org/wiki/Low-pass_filter
Harry Hughes
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- Apr 25, 2009
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Buy a really expensive outboard EQ. Seeing as how you have "unlimited resources", you should be able to afford one and then all your EQ problems will be solved
SocialNumb
Damn Christians!
haha, dont really know why i did that. pointless. age doesnt matter like that dude said haha.
Just wanna learn a lot of stuff..
Maybe you could answer this for me?
this is my guitar path:
POD>channel EQ>sends: guitar bus (compressor), guitar bus 2 (verb)
Now i've been hearing a lot about adding a high pass filter in there. But idk how to use it right, i'm givin the options "frequency, order, and smoothing"
John_C
formerly Skeksis268
1st you don't need the compressor in general.
2nd you really need to read up on theory............sound engineering does share a bit with real cars and bridges engineering
frequency is the frequency that the filter is working at
order is the steepness of the slope of the filter
smoothing is probably something to do with controlling the shape of the curve
2nd you really need to read up on theory............sound engineering does share a bit with real cars and bridges engineering
frequency is the frequency that the filter is working at
order is the steepness of the slope of the filter
smoothing is probably something to do with controlling the shape of the curve
yeah i know what the frequency does. just not sure on how to depict where to set them. i guess i'll just mess around and see what works.
botus99
Microphone Assassin
More often than what you think, this will teach you something valuable. That's a great way to learn
Harry Hughes
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- Apr 25, 2009
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Over time you get a ear for what particular frequencies sound like.
You could always get the EQ out set to the bell curve, and then sweep through the frequency range to see what frequencies do what.
If we are talking about guitars, here's a general guide (don't take this for absolute gospel because things change depending on amps/cabinets/microphones and what not and even the player themselves)
60Hz and under : Generally just flub, high pass it all out (but I generally do a high pass anywhere from 80-120Hz really)
90-150Hz : Mid bass, gives the guitars some meat but can get muddy very quickly.
200-400Hz : Lower mids, again, another "meat" range of guitars, but can cause wooliness/stuffiness when it's in excess and can potentially cloud frequencies higher than that
800Hz - 1.5KHz: A lot of the "core mids" seem to live around here. The nasally "Honky, seem to really live around 750-900Hz, and a bit above that, going more towards 1.3-1.5KHz, too much of that seems to give you what I can only describe as a cheap and nasty sound
2-3KHz : 2KHz-ish seems to provide the percussive attack of guitars. Boost that for for the faggy "djent" sound. Too much boost of that results in this yucky scratchy sound. 3KHz seems to the upper limits of the attack range. It can quickly interfere with the vocals, so be careful
4.5-5KHz : The upper mid range, very much the "brightness" of guitars. It's not the only place where "brightness" comes from, but you want a lot of it to come from there and not so much higher up.
Listen to everything from Killswitch Engage's End of Heartache, all of Paramore's output, Between the Buried and Me's Colors album, Linkin Park's Hybrid Theory (all albums I consider to have guitars that fit supremely well in the mix), this is the brightness you hear, around 4.5-5KHz. It gets VERY smoothed off after that.
7-7.5KHz : The dreaded upper fizz region. You wont hear too much of this at all in a good production.
It does however, provide a sense of air and space, so don't cut way too much of it. You want a bit of stuff going up to at least 10KHz starting from that 7KHz region for that air and space, but it has to be only just noticeable, otherwise you start getting that horrible CFH scratch.
Personally I'm of the opinion pretty much NOTHING after 10KHz is at all useful for a guitar tone, so I just always low pass at 10KHz.
Okay so maybe, just maybe there is some useful shit for lead guitar or something, but if we are talking about heavy riffing, there is virtually jack shit content above 10KHz.
Sometimes I just wonder why we don't just fucking high pass at 8Khz and say "fuck that fizzy shit right off" but I guess there could be some useful shit going up to about 10KHz we leave in there just for a slightly added perception of air
I'd give advice on drums and shit, but honestly I know jack shit about drums
so I'm not going to lead you on with bad advice, but I do a reasonable amount about guitars (seeing as I'm a guitar player).
It's all about getting tones with some fucking meat in the mids. Guitars are all about mids, so get rid of the crap that isn't useful to a guitar tone and keep that bass region and treble region under tight control.
None of this Master of Puppets/Cowbows from Hell, scratchy, fizz, scooped out garbage that leaves a huge hole in the mix frequency spectrum.
Hope this helps, and again, it's a general guide, and it will always vary from mix to mix, project to project as to what you need to do
You could always get the EQ out set to the bell curve, and then sweep through the frequency range to see what frequencies do what.
If we are talking about guitars, here's a general guide (don't take this for absolute gospel because things change depending on amps/cabinets/microphones and what not and even the player themselves)
60Hz and under : Generally just flub, high pass it all out (but I generally do a high pass anywhere from 80-120Hz really)
90-150Hz : Mid bass, gives the guitars some meat but can get muddy very quickly.
200-400Hz : Lower mids, again, another "meat" range of guitars, but can cause wooliness/stuffiness when it's in excess and can potentially cloud frequencies higher than that
800Hz - 1.5KHz: A lot of the "core mids" seem to live around here. The nasally "Honky, seem to really live around 750-900Hz, and a bit above that, going more towards 1.3-1.5KHz, too much of that seems to give you what I can only describe as a cheap and nasty sound
2-3KHz : 2KHz-ish seems to provide the percussive attack of guitars. Boost that for for the faggy "djent" sound. Too much boost of that results in this yucky scratchy sound. 3KHz seems to the upper limits of the attack range. It can quickly interfere with the vocals, so be careful
4.5-5KHz : The upper mid range, very much the "brightness" of guitars. It's not the only place where "brightness" comes from, but you want a lot of it to come from there and not so much higher up.
Listen to everything from Killswitch Engage's End of Heartache, all of Paramore's output, Between the Buried and Me's Colors album, Linkin Park's Hybrid Theory (all albums I consider to have guitars that fit supremely well in the mix), this is the brightness you hear, around 4.5-5KHz. It gets VERY smoothed off after that.
7-7.5KHz : The dreaded upper fizz region. You wont hear too much of this at all in a good production.
It does however, provide a sense of air and space, so don't cut way too much of it. You want a bit of stuff going up to at least 10KHz starting from that 7KHz region for that air and space, but it has to be only just noticeable, otherwise you start getting that horrible CFH scratch.
Personally I'm of the opinion pretty much NOTHING after 10KHz is at all useful for a guitar tone, so I just always low pass at 10KHz.
Okay so maybe, just maybe there is some useful shit for lead guitar or something, but if we are talking about heavy riffing, there is virtually jack shit content above 10KHz.
Sometimes I just wonder why we don't just fucking high pass at 8Khz and say "fuck that fizzy shit right off" but I guess there could be some useful shit going up to about 10KHz we leave in there just for a slightly added perception of air
I'd give advice on drums and shit, but honestly I know jack shit about drums
so I'm not going to lead you on with bad advice, but I do a reasonable amount about guitars (seeing as I'm a guitar player).It's all about getting tones with some fucking meat in the mids. Guitars are all about mids, so get rid of the crap that isn't useful to a guitar tone and keep that bass region and treble region under tight control.
None of this Master of Puppets/Cowbows from Hell, scratchy, fizz, scooped out garbage that leaves a huge hole in the mix frequency spectrum.
Hope this helps, and again, it's a general guide, and it will always vary from mix to mix, project to project as to what you need to do
abt
BT
Seth Munson
How do Amber Lamps?
True, not sure, I think I just got caught up in trying to have control over every element. When I still can on one bus, haha.
Any of you guys know how to download, and where to save the "impulses" to? I'm using Logic 8 btw, and Podfarm...
