Using Equalization

One of the most exciting aspects of using a mixer such as the PL 1602 is the ability to shape a sound, using a process called equalization. But there are few areas of sound engineering more misunderstood than equalization, and, just as good EQ can really help a sound, bad EQ can really hurt it, so read on...

Every naturally occurring sound consists of a broad range of pitches, or frequencies, combined together in a unique way. This blend is what gives every sound its distinctive tonal color. The EQ section in a mixer allows you to alter a sound by boosting or attenuating specific frequency areas. The PL 1602 provides independent two-band equalization controls for each of its channels (the same equalization is applied to both the odd-numbered [left] input and the even-numbered [right] input). Each EQ knob is labeled with the maximum amount of cut or boost provided (± 15 dB). Both EQ controls employ what are known as shelving curves. In the case of the High EQ control, only frequencies at or above 10 kHz are affected; in the case of the Low EQ control, only frequen- cies at or below 100 Hz are affected. We provided these particular frequency areas because they have maximum impact on musical signals— that’s why they are sometimes known as “sweet spots.”

When an EQ knob is in its center detented position (“0”), it is having no effect. When it is moved right of center, the frequency area is being boosted; when it is moved left of center, the frequency area is being attenuated. In all channels, the EQ setting always affects both the odd- and even-numbered inputs the same way, although the two signals remain separate.

In most instances, the best way to approach equalization is to think in terms of which frequency areas you need to attenuate, as opposed to which ones you need to boost (boosting a frequency area also has the effect of boosting the overall signal; too much EQ boost can actually cause overload). Be aware of the phenomenon of masking, where loud sounds in one frequency range obscure softer sounds in the same range; by cutting EQ “notches” in a loud signal, you can actually make room for a softer one to shine through. And try not to think of EQ as a miracle worker— no amount of equalization can put a singer in tune or remove the distortion from an overloaded input signal! The key is to get the sig- nal right in the first place, by using correct gain structure and mic placement.

Although the specific EQ you will apply to a signal is very much a matter of personal taste, here are a few general suggestions: Boosting the low frequency of instruments such as bass drums or bass guitar will add warmth and make the sound “fatter”; conversely, you may want to attenuate the low frequency compo- nent of instruments such as cymbals, high-hats, and shakers so as to “thin” them out. Also, be careful not to boost high frequencies too much or you risk adding hiss to the signal, though just a touch can help add “shimmer” to an acoustic gui- tar, ride cymbal, or high-hat. Finally, because the PL 1602 EQ utilizes shelving curves, attenuated High settings can be used to reduce hiss (which is composed almost exclusively of high frequencies) and attenuated Low settings can be used to reduce rumble (which is composed almost exclusively of low frequencies).

-15 +15

HIGH

-15 +15

LOW