Introduction To Equalisation

Equalisers
• Equalisers are used to alter frequency response and content of the
sound. They have a number of applications in the recording, mixing
and mastering stages.

• This lecture aims to:

• Describe the types of equalisation and filters

• Explain the key terms concerned with equalisation

• Give basic understanding of how equalisers work.

 Types of EQ
Types of EQ:
• Baxandall : Mainly used in stereo systems.
• Filter: High pass or low pass.
• Parametric: Semi or fully parametric. Bell curve
EQ.
• Shelving EQ: Boosts or cuts an entire
frequency area.
• Graphic: Used for live sound.
• Linear Phase: Used in mastering.
 Baxandall EQ
• The most common type of EQ found on Hi-fi equipment is the Baxindall EQ.

• High shelf and low shelf otherwise known as Bass and Treble Controls.
 Filters

Filters cut a frequency range out of the mix. There are 4 different types
of Filters:

• High Pass

• Low Pass

• Band Pass
• Notch

• Every filter has a slope measured in dB per octave (dB/8ve) which

describes how steep or gradual it is. Common filter slopes are 6dB/
8ve to 24dB/8ve.

• A Brick Wall filter is a theoretical Filter with a infinitely steep cut off
frequency. The problem with steep Filters is they can cause phase
problems lower in the frequency range.
 Filters
• High Pass Filter Low Pass Filter
 Filters
• Band Pass Filter Notch Filter
 Filter Uses
• High Pass Filters are commonly found on preamps to cut unwanted bass
Hum and noise and rumble from handling or footsteps. They can also be
used to bring clarity to a mix by attenuating low frequency phasing.

• Low Pass Filters are used in the digital conversion process and also to
lower the level of Hiss.

• Notch Filters can be used to cut mains hum and problematic resonance
frequencies in a room or mix.

• Band Pass Filters are used in telecommunication and radio technology to

limit the bandwidth taken up by a signal.
 Bell Curve EQ
• Bell curve EQ’s give maximum cut or boost at the centre frequency
 Bell Curve EQ

• Bandwidth - The effected frequency range (lowest to highest)

measured at -3dB down from the Centre Frequency.

• Centre Frequency - The point of maximum boost or cut.

• Quality factor (Q) - This is the centre frequency divided by the

bandwidth and describes a narrow or wide cut or boost.

• Gain - The amount of cut or boost applied by an EQ.

 Parametric/Semi-Parametric EQ

• EQ’s are known as parametric if there is a control for the Q value

• If it does not have a Q control, it is known as a semi-parametric EQ

EQ Calculations
Bandwidth = Frequency2 - Frequency1

Centre Frequency= Frequency1 x Frequency2

CentreFrequency
Q=
Bandwidth
 Shelving EQ
• Shelving EQ boosts or cuts an entire frequency area.

• It boosts everything above or below a specified frequency.

 Shelving EQ

• We can adjust the frequency and the cut/boost.

• The frequency given will be measured at -3 dB to the highest/lowest

point.

• EQ’s usually have roll off rates in order to make the transition less
obvious. Steeper slopes can sound unnatural.
 Resonant Filters
• Resonant filters give a boost/cut to a selected frequency before applying the filter/EQ.

• Used a lot in synthesis. Can also be used to make shelving boosts sound more natural.
 Graphic EQ
• Graphic EQs consist of a High and Low shelving EQ plus several
overlapping fixed frequency and fixed Q value Bell curve EQs.

• Graphic EQ’s are mainly used for compensating for bad acoustics and
removing feedback at venues.

• It is common to find a 3rd Octave Graphic Equaliser at Front of House

position at a venue (3 Bands of EQ per octave and total 31 Bands)

• Graphic EQ’s are generally not used in the studio as they are too
specific and can sound unnatural.
31-Band Graphic
 Linear Phase EQ
• A standard EQ adds small delays between bands of cut and boost
which causes phasing. A Linear phase EQ is a mastering EQ which
applies the same amount of delay to processed and unprocessed
bands to re-adjust the delays to keep the phase relationship correct.
This can use up a lot of CPU and introduce latency.
 Frequency Ranges
Low Bass: 20-60/80 Hz

• Not a lot of instruments can produce information this low. There are plenty
of speakers that can’t go as low as this.

Bass: 80-250 Hz

• This area mainly contains information from the kick and bass. We can
sometimes filter off the lower end bass so that the kick drum can be heard.
Low Mid 100-500 Hz

• A lot of fundamental frequencies lie in this area, also, there are a lot
of resonant frequencies here. EQing this region can help a muddy
mix.

Mid: 500 Hz- 1kHz

• This is a ‘honky’ sounding area. More polished music usually has a

dip in this area, as it can cheapen the sound. Brass instruments have
a lot of information here.
 Frequency Ranges
High Mid: 1-3 kHz

• Provides a lot of clarity, but can sound aggressive. Vocals are EQ’d
around this area.

Presence Range: 3-8 kHz

• Commonly altered region. Boosting some instruments in this area will

bring them to the front of the mix. Also the sibilance area.
High frequency: 8-16 kHz

• Adds brilliance to a mix. Cymbals have a large amount of information

in this area.

Space and Depth: 16 kHz upwards

• Can’t really hear this region, but we can perceive it. Natural reverbs
are around this area.
 Common EQ Shapes

Kick

• Remove muddiness @ 200-300 Hz

• Remove cardboard @ 400-500 Hz

• Add beater click @ 5-6 kHz

• Add sub @ 50-100 Hz

 Common EQ Shapes

Snare

• HPF @ 60-80 Hz to remove rumble.

• Remove Boxiness @ 500-600 Hz

• Add brightness with Shelving EQ @ 5-6 kHz

• Add attack @ 1-2 kHz

• Add depth @ 100-200 Hz

 Common EQ Shapes

Toms

• Similar to kick, but frequencies are usually slightly higher.

• A HPF may sometimes be used.

 Common EQ Shapes

Overheads

• HPF

• Remove room @ 200-500 Hz

• Remove harshness @ 2-3 kHz

• Add brightness 6Khz and above.

 Common EQ Shapes

Bass Gtr

• Remove space for kick @ 50-100 Hz

• Add body @ 200-400 Hz

• Add Clarity @ 2-5 kHz

 Common EQ Shapes

Electric Guitars

• HPF

• Add body @ 450-900 Hz

• Remove harshness @ 2-3 kHz

• Add presence @ 5-6 kHz

 Common EQ Shapes

Acoustic Guitar

• HPF

• Remove boxiness @ 400-500 Hz

• Add presence @ 5-6 kHz

 Common EQ Shapes

Piano

• HPF

• Remove muddiness @ 200-400 Hz

• Add clarity @ 1-2 kHz

• Add air @ 6 kHz and above

 Common EQ Shapes
Vocals

• HPF

• Remove boxiness @ 400-500

Hz

• Add clarity @ 1-1.5 kHz

• Reduce harshness @ 2-3 kHz

• Add air @ 6 kHz and above

 Frequency Chart

• http://www.independentrecording.net/irn/resources/freqchart/
main_display.htm
 RC Filter Design

• Filter circuitry can be designed using Resistors & Capacitors

• The concept works on the fact that capacitors will let high
frequencies pass, but not low frequencies.
 High Pass Filter

• The capacitor blocks the low frequencies, and does not allow them to
pass to the output.
 Low Pass Filter

• High frequencies go through the capacitor and then pass to ground.

Only the lower frequencies reach the output.
 Bandpass Filter
• First filter out high frequencies (high-
pass filter) 


• Pass remaining signal on to the next

stage 


• Low-pass-filter what’s left

• Filter design utility - http://sim.okawa-denshi.jp/en/CRlowkeisan.htm