Does anyone have a systematic method that they use to come up with the right EQ settings in unfamiliar rooms or with new bands?
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Sure-Fire Method for EQing?
- Thread starter jallenbass
- Start date
you're going to have to read and study to truly understand eq.
what specifically are you asking about eq.
what specifically are you asking about eq.
The fundamental method (if you have the time) is to boost the mid-range gain and sweep the frequency control until you find the worst, most dominant frequency and then simply reduce the gain to taste. There are dozens of other tricks and preferences but it really comes down to your ears, the band, the gear you have to work with, and the amount of time you have to work things out.
I'm gonna say there is no such thing. WAY too many variables....
Trust your EARS!
In my experience the less eq the better.
Trust your EARS!
In my experience the less eq the better.
I am going through the same thing. My livingroom sound gets lost in the mix.what actually works is this obnoxious growl that sounds horrible in the livingroom and awsome in any room.kinda ckacidy., higher than I like but just fits in all the situation I play in
that's common, a tone that works in a live mix or in the studio, when solo'ed, often sounds like a mess.
The last time I saw Rush, Geddy Lee was obviously having some sort of bass issue. He was cutting in and out during the performance. The lights weren't down all the way and I saw him switch basses between songs. The band was silent and Geddy let off a quick "test run" of the new bass. It sounded terrible. Very "trebley." They launched into "Fly By Night" and he sounded great. His bass was EQ'd to the band... not to itself.
In my livingroom/studio... I leave my EQ flat. I add or subtract as needed when playing in the venue or rehearsal room. Most of the time I make very small adjustments. Usually I am cutting bottom end.
In my livingroom/studio... I leave my EQ flat. I add or subtract as needed when playing in the venue or rehearsal room. Most of the time I make very small adjustments. Usually I am cutting bottom end.
I get all that about practice room vs live with a band settings and trusting your ears. Here's what I'm looking for in response to my question:
Yes I do have a systematic approach to EQing in unfamiliar venues or new band settings. Here's what I do...
Yes I do have a systematic approach to EQing in unfamiliar venues or new band settings. Here's what I do...
- Oct 18, 2012
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I trust my ears so I start flat and adjust to what I need keeping in mind that cutting is usually better than boosting.
This. While there are a LOT of additional points to consider with EQ, really dialing in a bass rig onstage is generally made easier with a parametric EQ. The steps are as follows:
1) Set the width of the band to the narrowest setting (peak).
2) Boost the "level" control all the way up.
3) Slowly turn the frequency select knob. You'll hear a kind of "whorl" sound as various frequencies are highlighted as you sweep through them.
4) Eventually, as you turn the select knob, a terrible heinous-sounding frequency will be pinpointed and singe your face.
Stop turning the knob.
6) Turn the "level" control down instead of up.
Lonnybass
- Oct 3, 2004
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When it comes to EQ, I always just boost the crap out of my 800-900hz (whatever the amp supports, or just the Mids control) and if I have the control for it, I also boost my 250hz (Low-Mids). And keep in mind I've been working in 6-piece heavy metal bands with 2 guitars, 1 vox, drums, a keyboard (or two or three) and then there's me. And here's why:
<100 hz - kick drum territory (can be up to 120 hz depending on drum and drummer) no need to fight against that and muddy everything up.
27 hz - average fundamental of the Low B on a bass guitar
83 hz - average fundamental of the E on a bass guitar
100 hz - Low B on a 7-string guitar
120 hz - E string on a guitar
240 hz - Mid-range on the guitar, most metal guitarists cut this range to sound more Uber so I'm going to boost my signal here to cut through
400 hz - kick drum attack (It's the T of the Toom) normally boosted in studio recordings
800-900 hz - the Clack of my bass (sounds ugly in the room, but emphasizes your attack in the mix)
1000 hz - male vocals begin here, not my space
1200 hz - Guitar solo territory and also female vox begin - also not my space
2khz and up - cymbals and overtones, your bass doesn't go this high
Keep in mind these are general guidelines, and my reasons to approach EQ in the way that I do.
Also, the heavier the guitars get (Mesa or Marshall on 10), the cleaner you need to keep your bass to be heard, and vice versa. If you like to have a lot of gain on your front end like I do for sensitivity you may want to invest in a "cleaner" sounding amp like a GK or a Hartke - if the guitars are more laid back (Fender or Vox on a reasonable gain) then by all means - drive your Ampeg or Mesa Big Block like you stole it
Peace,
Greg
<100 hz - kick drum territory (can be up to 120 hz depending on drum and drummer) no need to fight against that and muddy everything up.
27 hz - average fundamental of the Low B on a bass guitar
83 hz - average fundamental of the E on a bass guitar
100 hz - Low B on a 7-string guitar
120 hz - E string on a guitar
240 hz - Mid-range on the guitar, most metal guitarists cut this range to sound more Uber so I'm going to boost my signal here to cut through
400 hz - kick drum attack (It's the T of the Toom) normally boosted in studio recordings
800-900 hz - the Clack of my bass (sounds ugly in the room, but emphasizes your attack in the mix)
1000 hz - male vocals begin here, not my space
1200 hz - Guitar solo territory and also female vox begin - also not my space
2khz and up - cymbals and overtones, your bass doesn't go this high
Keep in mind these are general guidelines, and my reasons to approach EQ in the way that I do.
Also, the heavier the guitars get (Mesa or Marshall on 10), the cleaner you need to keep your bass to be heard, and vice versa. If you like to have a lot of gain on your front end like I do for sensitivity you may want to invest in a "cleaner" sounding amp like a GK or a Hartke - if the guitars are more laid back (Fender or Vox on a reasonable gain) then by all means - drive your Ampeg or Mesa Big Block like you stole it
Peace,
Greg
For now just my bass and amp. I have not yet played a gig with the new band. I'm working on dialing in my sound to fit them at rehearsal. It's a little louder than I am used to playing but by no means is it "loud".
I just plug in and turn knobs till I like what I hear. Boost, cut, who cares? I just want the sound I want.
My main bass (single pickup) has a naturally strong presence between 200-500 Hz. It is difficult to hide in a mix. When recording direct, it sounds best to me when the lows are boosted slightly @80Hz. Live, I found that things are better off set flat and I make minor adjustments to fit into the ensemble mix.
I try to go through a DI and I'll ask the soundmen to cut some highs around 10k-16k since they can be overbearing through a tweeter, through an amp I listen and adjust the knobs until I'm as close as I can get to a clean and transparent sound, it usually involves heavily contouring the midrange.
