EQ

Cheat Sheet
Las Positas College

What is EQ?

“Frequency-dependent control of amplitude”

In other words, controlling the overall strength of certain signals at different (independent)
frequencies. Frequency-specific volume knobs. This is a filtering tool.

Relevant Terminology/Review

• Frequency = cycles/second – measured in Hertz (Hz)
o An Octave musically is a doubling of frequency
§ Ex: ‘A 440’ is used for tuning, the A below that is 220, below that is 110
§ Higher frequencies are easier to discern specific pitches from because
they are much farther apart frequency-wise. This is why guitar and bass
players tune to high range harmonics – more accurate up high.

• Audible human hearing range – 20 Hz to 20 kHz (20,000 Hz)
o As you grow older (and depending on how you treat your ears), the top few
thousand Hz are no longer available

• Wavelength = speed of sound (1100 feet/second) divided by the frequency
o For example, if a sound’s frequency is 100 Hz:
1100 ft/sec / 100 Hz = 11 feet (per cycle)
o An object must be more than ½ the size of the wavelength in order to block it.
So, basically this means larger wavelengths are more difficult to block.

• Amplitude = Strength of signal

• Decibels (dB) = Measures sound pressure/intensity
o dB SPL – Measures sound pressure level (common)
o Our perception of loudness is exponential
§ 10 to 1 ratio – For something to sound twice as loud, it must have 10
times the power. So, a 100 watt amp is only twice as loud as a 10 watt
amp. A choir of 100 people is (in ideal circumstances) only 3 times as loud
as a single person.
§ A general rule – doubling the power = 3 dB higher




Why EQ?

1. Balance / Correcting Imbalance / Clarity
o Almost always involves cutting signal, not boosting
o Creating a hierarchy of importance that is clear (directing your listener’s focus)

2. Artistic Judgment / Shaping the Sound
o Can either cut or boost, used less often. Simply, do what sounds good to you.
o Must be careful of “frequency masking” – too much energy in a certain
frequency range has a dulling effect/masks individual instruments

Types of EQ

• Shelving EQ
o High-pass filter (low-cut/low shelf) – the most common
o Low-pass filer (high-cut/high shelf)

• Graphic EQ
o Frequencies represented left to right on sliders, common in live sound, easy to
understand and use

• Parametric EQ
o Continuously variable control of frequency selection. Three adjustments:
§ What frequency
§ How much signal is cut/boosted
§ How wide is the bandwidth (known as the “Q”) around the selected
frequency – sometimes not available in live/basic applications

General Tips

• Cutting frequencies is a much more effective use of EQ than boosting. There are several
other tools available to help shape/color and “add” to the sound, but not many that
help balance the sonic spacing. Alternatively, you can make things louder with faders
quite easily (instead of boosting specific frequencies).

• Some instruments may not sound great soloed because their EQ is balanced within the
greater mix.

• In general, making EQ adjustments to instruments while soloed has limited value.
Constantly check against the greater mix, as balance is the overall goal.
o EQ instruments in order of their importance, add as you go down the hierarchy.

 • On multi-miked instruments, use bussing to achieve a balanced EQ and avoid phasing
issues.

• Common frequencies that are cut:
o High-Pass Filter (roughly) 100 Hz and below – removing rumbles – highly
depending on the instrument you’re EQ-ing
o 200-300 Hz – Commonly “boomy”
o 300-500 Hz – Frequencies that cheaper mics tend to over-emphasize
o 800 Hz – Too much here sounds like a cheap stereo
o 1-1.5 kHz – “Nasal” range for vocals
o 2.5-3.15 kHz – This is the “piercing” range (commonly when audiences plug their
ears against the offending sound, aka when it’s “too loud”)
o 4-6 kHz – “Presence” – can sometimes be boosted, beware listener fatigue
o 10 kHz – Consonants, “crispy” sounds – listener fatigue common
o High-Shelf – Boosting adds “crispy” sounds, cutting reduces listener fatigue/dulls
sound

• EQ adjustments sound very different depending on what you’re listening through.
o Lower frequencies become harder to hear in lower decibel ranges
o Studio headphones add clarity, but are usually not how the final mix will be
listened to
o Listen on studio monitors for balance, hierarchy of sound, full range of frequency
response
o Listen on cheap speakers (the most common for listeners) for balance in limited
frequency response range, hierarchy of instruments/sound, commercial
production