The Most Detailed Equalizer Adjustment Methods

- Jun 19, 2018-

The equalizer is an electronic device that can individually adjust the amplification of various frequency component electrical signals. It compensates the defects of loudspeakers and sound fields by adjusting various electrical signals of different frequencies, and compensates and modifies various sound sources and other special effects. The equalizer on the general mixer can only adjust the high-frequency, intermediate-frequency and low-frequency frequency signals respectively.

In a communication system, inserting an equalizer in a tying system can reduce the effect of inter-code interference.


Adjustment methods:

Subwoofer: 20Hz-40Hz, sounds strong and powerful when appropriate. It controls the sound of thunder, bass drums, organs, and bass. Excessive promotion can make the music cloudy.

Bass: 40Hz-150Hz, is the basic part of the sound, and its energy accounts for 70% of the entire audio energy. It is an important component of music style. When appropriate, the bass is well-relaxed and the sound is plump and soft. When it is not enough, the sound is thin. At 150Hz, when the sound is raised excessively, the sound becomes boring, the brightness decreases, and the nasal sound increases.

Mid-bass: 150Hz-500Hz, is the structural part of the voice, vocal in this position, when insufficient, the singing sound will be drowned by the music, the sound is soft and powerless, when properly promoted will feel strong and strong, improve the strength and loudness of the voice. Raising the bass can make the bass harder, and excessively increase 3-6dB at 300Hz. If reverberation is added, the clarity of the sound will be seriously affected.

Mediant: 500Hz-2KHz, including the low harmonics and overtones of most instruments, is a characteristic snare for snare drums and percussion instruments. The sound is clear and bright when appropriate; when over-escalated, it will produce a telephone-like sound.

Alt: 2KHz-5KHz, which is the characteristic sound of the string (the sound of the bow and the string of the string is played, and the sound of the finger of the playing string touches the string). The penetrating power of the sound decreases when it is insufficient, and it masks the recognition of the language syllable when it is too strong.

Treble: 7KHz-8KHz, is the frequency that affects the sense of sound layering. Excessive promotion will make the sound of piccolo and flute prominent, and the tone of the language will increase in tone and tone.

Ultra-high Treble: 8KHz-10KHz. When appropriate, the triangular metal has a high permeation rate and the sand clock is clearly identifiable. Excessive lifting will make the sound unnatural and it will burn the high frequency unit easily.


The balanced and melodious sound should be:

Below 150Hz (bass) should be plump, soft and elastic;

150Hz-500Hz (middle bass) should be thick, strong, and turbid;

500Hz-5KHz (middle and high treble) should be bright and thorough and not stiff;

More than 5KHz (treble) should be slender, smooth but not sharp.

When the entire frequency response is flat, the sound is naturally full and flexible, and the level is clear and pleasant. When the frequency response is in multiple peaks and valleys: the sound is rough and turbid, the high-pitched hair is harsh, and there is no layered sound reinforcement and feedback whistle can easily occur.


Frequency characteristics of sound:

30-60Hz Dreary If there is no loud loudness, the human ear can hardly feel it.

60~100Hz Heavy near 80Hz can produce a strong "heavy sense" effect, high loudness does not give a comfortable feeling, can give people a strong stimulating effect.

100~200Hz fullness

200-500Hz force is easy to cause squeaky boredom.

500~1KHz Brightness If you increase 10dB near 800Hz, it will obviously produce a sense of confusion and narrowness.

1K~2KHz translucent

2K~4KHz Sharpness The relationship between brightness around 2800Hz is highest, and 3400Hz can easily cause hearing fatigue.

4K~8KHz crisp 6800Hz forms wailing, sharp feeling, >7.5KHz sound clear and slender.

8K~16KHz slim. Double bass: Full and deep in 60Hz ~ 100Hz. The rumble at 600Hz, the sense of presence at 2.5KHz, the noise of the strings above 3kHz. Attenuating components in the vicinity of 200Hz to 500Hz can make the sound clear.

Electric guitar: Dial sound at 60Hz, fullness at 100Hz, squeak at 500Hz, presence or sharpness in the range of 2KHz to 3KHz, squeaking or rasping sound above 6KHz.

Drums: fullness in 100Hz~200Hz, drum sound is blurred at 250Hz~800Hz (can be attenuated in this range), trivial useless snare drum sound in 1KHz~3KHz, hit sound in 5KHz. Attenuating drum sounds near 600Hz reduces box sound. Raising the 10KHz to 12KHz makes the dull cymbals more delicate and crisp.

A whisper drum: Fullness and strength less than 60Hz, between 300Hz and 800Hz is a tear paper sound (attenuation of 400Hz~600Hz components can make the sound better), hum and struck sound in 2KHz~6KHz. )

Saxophone: The warmth is at 500Hz, the rasping sound is at 3KHz, and the key noise is above 10KHz.

Native guitar: fullness or dialing sound at 80Hz, presence sensation at 5KHz, pluck (pic) noise above 10KHz.

Acoustic Guitar Microphone Pickup: To make the guitar acoustically more “acoustic”, it can attenuate in a narrow frequency band of 1.2KHz to 1.5KHz, which may attenuate certain high frequency components.

Vocals: The fullness of male voice is between 100Hz and 200Hz, the fullness of female voice is between 200Hz and 400Hz, the buzz or nasal sound is between 500KHz and 1KHz, the presence sensation is at 5KHz, and the buzzing sound (sends "s" and "sh") at 3KHz to 10KHz.


Example: The sound of a person's soundtrack is overfull or rumbling. You can attenuate it with a low-frequency equalization knob (for example, at 100Hz) until the sound you hear is natural. If the snare drum sounds too sluggish or if it is depressed, the mid-frequency balance button can be adjusted and raised at 5 kHz to 10 kHz until the snare drum sounds clear and crisp.

Do not pause while maintaining a balanced adjustment to the approximate frequency range that you need for a given period of time, and continue to use full boost or full attenuation to make the effect more pronounced. Finally, go back and fine tune its frequency and its boost or attenuation until you think the most satisfying sound quality is balanced.

If the sound of a musical instrument is accompanied by squeaks, dullness, or rasping sounds, then I don't know where to start adjusting the balance. At this time, an optional frequency equalizer can be used to increase the lifting amount first and then select the frequency segments one by one until the tone of the selected frequency segment matches the tone of the problem. Finally, the balance of this frequency band is attenuated until the sound returns to normal. For example, when picking up a grand piano, the dull dyeing effect is caused by the microphone being too close to the cover - probably the output of the 300 Hz accessory is too high. At this time, the low-frequency equalization is used to increase the amount of equalization, and the center frequency is changed so that the dullness of the sound becomes more pronounced. Finally, the equalizing amount of this frequency is attenuated until the piano sound returns to normal.

In general, excessive boosts should be avoided because doing so may distort the signal. Therefore, sometimes when it is necessary to increase the high frequency without distorting the signal, a method of attenuating the low frequency may be tried to achieve the purpose of increasing the high frequency. To reduce the turbidity of the sound or enhance its clarity, it can be attenuated by 1 to 2 dB at or around 300 Hz—or by attenuating each instrument or by attenuating the entire mix. At the same time, care should be taken not to increase the amount of equalization of each instrument at the same frequency.



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