SST1/2 HELPSHEETS

BASIC EQUALISATION
Remember to use careful mic placement in the first place.
If possible, avoid extremes of EQ.
Things will often sound un-natural if huge boosts are applied.
Having said this, equalisers are there to be used, if necessary.
IMPORTANT!
Listen carefully before applying EQ. Dont twist the pots just
for the sake of it! Inexperienced engineers often add EQ just
because they feel they ought to be doing something!
Does the signal really need EQ? Is another part of the track the
problem (eg- Is it the bass thats making the kick sound
muddy?!)
Think about cutting instead of boosting (eg- Does that rhythm
guitar really need brightening, or does it just need low mid
taking out?).
Medium bandwidth boosts sound more musical. Narrow
bandwidths are generally used to home in on, and get rid of
nasties. Experiment with this!
Dont forget the filters!
Use the high pass filter (shaves off low end and allows the
higher frequencies) to get rid of ultra-low, unwanted boomy
muddiness from tracks.
Use the low pass filter (shaves off high end and allows the
lower frequencies) to get rid of hiss, offensive high harmonics
and unwanted upper frequencies.
Remember that compression can suck the bottom out of kick
drum and bass. Try Eqing before and after the compressor to
compensate.
To a lesser extent, the same is true of top end (eg- Compressed
drum overheads may sound duller).
(c) Pip Williams TVU 2005

A FEW EQ TIPS:
Kick Drums:
40-80 hz will add sub (take care it doesnt get too muddy)
80-150 hz will give weight and power. This is an often used
frequency.
Cutting between 200-300 hz can make the kick sound bigger
and deeper (less boxy).
Boosting (with care!) between 450 hz- 1.5 khz can harden and
give punch. (May be useful if the drum is tuned too slack)
To add slap to the kick, boost between 4k-6k.
Sweep the frequency pot to find the most suitable area. This
will depend on the tightness off the head, type of beater used
(wooden or felt) etc.
Snare Drums:
Very few instruments rely more on the source signal than the
snare drum. If the drum is well tuned, (tightish bottom head,
and both heads tuned evenly all the way round) then it should
be possible to get what you want.
I would rather spend two hours getting it to sound right
before recording, than many hours trying to salvage a rotten
recorded sound!
Drummers often like to tune their snares very high for live
work. This is (often/usually) too high for recording!
Boosting 150-200 hz can add weight if the drum is not tuned
too high initially.
Boosting between 900 hz- 1.6 khz will often bring out the
sound of a rim shot back-beat, but can sound a bit tinny.
Boosting 1.75-2.75 khz can add hardness and crack to the
sound.
Boosting 3.00-5.00 khz will bring out the sound of the snares.
Experiment with this frequency carefully.
I am sometimes reluctant to use underneath snare mics
because they can sound biscuit tinnish when boosted here.
(c) Pip Williams TVU 2005

Hi-Hats:
Again, really depends on the size of the cymbals and how they
sound (cheap hi-hats are usually crap!)
Using the high pass filter and getting rid of all the offensive
mid frequencies below 600 hz is useful (this will also help get
rid of kick-drum spill).
Use the low-mid EQ to sweep through the frequencies (narrow
bandwidth) and find the rotten dustbin lid area, then cut it.
This frequency will vary depending on the cymbals used.
Add sparkle to them by boosting between 6-10 khz
Remember!
This is just a guide. If you like the sound of the hi-hats boosted
at 1 khz, and its appropriate for the track, go ahead!!
Cymbals/Overheads:
This depends very much on whether you have micd and
recorded the toms separately.
If you have, you can afford to put the high pass filters in and
get rid of all that stuff below 1 khz.
You can then boost between 7.00-12.00 khz to bring out the
sparkle and add some top end to your mix.
HOWEVER:
Do check to see how important the overheads are to the sound
of your snare drum. If you cut too much middle, you may end
up with a thinner sounding snare.
Also, do experiment with compression on the overheads to
help bring forward the snare drum, if desired.
If you havent recorded the toms separately, you will have
(hopefully!) placed those overheads in the optimum position to
get enough toms through (eg- using the XY, coincident pair or
spaced stereo technique)
You may still find that cutting a little between 500 hz- 1.2 khz
will make the toms sound less cardboardy and help cymbals.
(c) Pip Williams TVU 2005

Tom-Toms:
Again, well tuned toms wont need too much work.
Do experiment with cutting offensive mid frequencies from
individual drums.
Very generally, a boost at 4.00-5.00 khz will add slap to the top
tom. A boost between 275-350 hz should bring out the note
and make it sing a bit.
A middle tom may need boosting at 3.00-4.00 khz to give slap,
and 190-250 hz to bring out its note.
A floor tom could be boosted at 2.00-3.00 khz to give slap, and
140-200 hz to bring out the note.
BUT:
Use these as a guide only. So much will depend on how the
toms are tuned in the first instance. If the drummer has lots of
toms, use the above frequencies as a basis and sweep through
them to find the drums sweet spot.
Drum Room Mics:
Dont forget, if the room is quite small, you may be wasting
your time using two (stereo) mics.
Better here to use just one ambient mic (unless the room is
very live, when stereo can work!)
Neumann U87s, or TLM103s make fab room mics!
Decide what part of the kit you want to benefit from the room
sound.
EG- Try rolling out bottom (below 400 hz) to give a clanky
snare sound. Try shaving off top (above 3 khz) to help give a
big ambient kick.
If you just want the room sound to give life to the drums, you
may find that cutting mid (375- 900 hz) and filtering out below
90 hz and above 7 khz does the job (sometimes!!)
Remember that stone/tiled rooms sound brighter than wooden
rooms and adjust accordingly.
A room mic in a totally dead room is a waste anyway!
(c) Pip Williams TVU 2005

Bass Guitar/synth:
100-175 hz adds fullness. Watch it doesnt get boomy or
interfere with busy kick drum parts. This frequency can often
fatten up a plucked upright (string) bass
A bass guitar played with the fingers can be made to bubble
more and have more clarity if boosted between 400- 650 hz.
Boosting between 800 hz- 1.5 khz gives more presence and
hardens up the attack. This frequency will also harden up an
upright string bass.
If a bass guitar is played with a plectrum, or is thumb and
slapped (or a wirey bass synth is used), boosting between 2- 4
khz will harden and brighten it. This is virtually useless on a
finger plucked bass!
Remember too that flat wound bass strings are duller than
round (wire) wound. ie- There wont be too much above 4 khz
to boost!
If your kick drum is quite tight and clicky (real or sampled),
and you have a low simple bass synth part, you can often add
silly amounts of sub bass to the synth. 30-40 hz is not unheard
of!
You will definitely have to check on larger monitors. You may
find you are adding too much bottom, so take a CD into the
car and double-check! Often, a high pass filter set real low (2030 hz) will tighten things up.
Electric Guitars:
Try cutting rhythm guitars at 100hz and below to stop them
muddying up the bass. You can then boost a little higher (180220 hz) to fatten them up.
A boost at 1.5 khz can give grunge to rhythm and lead guitars.
Boosting between 2.2- 3.5 khz will make rock guitars really cut
through.
Bear in mind that most guitar amps dont deliver much other
(c) Pip Williams TVU 2005

than hiss and noise above 5-6 khz. Boosting above this range
will therefore be subjective. It could interfere with any acoustic
guitars on the track, and get in the way of strings and vocals
(generally!).
A finger picked/strummed electric guitar will also not benefit
from boosting too high, as there is no hard plectrum sound to
bring out (same scenario as the finger plucked as opposed to
plectrumed bass guitar!)
If an electric guitar is recorded D.I. (direct injection) however,
there may well be upper harmonics that one can boost.
Marvin Gayes Sexual Healing is one such example.
If you are recording heavy guitars through a Marshall stack, as
well as brightening/hardening them up, try boosting between
150-180 hz to make them really fat, then applying a high pass
filter around 90 hz to get rid of all the low waffle. Obviously,
always check that you are not clouding the bass.
Acoustic Guitars (steel strung):
A high pass filter is a good idea here, to reduce muddiness.
Warmth and body can be added at around 200-300 hz.
Try cutting between 500-850 hz to reduce unpleasant boxiness.
A lot depends on the quality of the guitar itself.
Boosting at 4-5 khz makes it brighter and harder.
Boosting between 6- 10 khz will bring out a silvery sheen, but
keep an eye on the cymbals to avoid masking.
You could try boosting, using a high shelf EQ at around 9 khz,
then adding a low pass filter, set at around 10 khz.
Nylon strung/Spanish acoustic guitars:
If played with fingers, a boost between 2-5 khz can brighten it,
depending on the tonality of the instrument itself. The
effectiveness of boosting above this range depends on strings
used, playing intensity and the mic used. Add warmth and
weight between 200- 300 hz. Cut boxiness around 420-600 hz.
(c) Pip Williams TVU 2005

Piano:
Again, this is very subjective. For example, a Bechstein grand
piano is one of the brighter ones. This is why it is favoured for
pop and rock recordings. A Bosendorfer is generally warmer.
Steinways vary considerably.
As a guide, a boost at 5.75-7.5 khz will add a nice transparent
brightness.
The mid range on a piano is often cut. Taking out somewhere
between 550 hz-1.5 khz will often take out the cheap nasal
sound often present (although you may even like a bit of this!).
Boosting at around 250-350 hz can fatten up and give clarity
to the lower register.
Also, try the above recommendations on upright pianos.
You may find that cutting from 400-900 hz is the effective
range for getting rid of plummy boxiness!
Organ/Synth pads:
Always make sure you check the sound on larger monitors.
Real organs (Hammond C3/B3 and church organs) can have
serious bottom end present. If bass pedals or ultra low presets
are used, it is useful to apply a high pass filter- the frequency
set will depend on how deep the part is played. 40 hz is a good
start.
You will (of course!) have worked out a part that doesnt
interfere with the bass. If you are featuring an organ part
where you want to utilise the bass pedals/low keys, make sure
that not too much is going on in the bass guitar/synth area.
Adding low mid will fatten up the lower register of an organ or
synth pad (250-375 hz).
Depending on how much harmonic content, or upper drawbars
are used, a boost at around 1.75-3.00khz will harden up a rock
Hammond organ, or similar synth pad.
You may need to cut higher up (6-10 khz) if a lot of nasty
upper harmonics are present. For synth string pads- see strings!
(c) Pip Williams TVU 2005

Percussion:
In most cases, I will have recorded percussion (both Latin
American and tuned) with a minimum of compression and EQ.
Most percussion instruments sound best if recorded in a room
with a certain amount of ambience....ie, not dead rooms.
For shakers, cabasas, maracas etc, they will handle a top boost
(7-10 khz). Try to pan them away from, and raise/lower the
boosted frequency to separate them from hi-hats. Use the high
pass filter to get rid of nasty lower frequencies. This will not
affect the sound of the instrument too much!
Anything scraped or whacked, such as guiro, cowbell,
woodblock, vibraslap etc, will sound harder if boosted
somewhere between 1.00-2.00 khz. Higher up (2.5-4.00 khz)
will add presence.
Congas- Add slap at 4-5 khz. Add woodiness around 650800hz.
Bongos- Slightly higher. Add slap the same. Harden up around
750hz-1.5 khz.
Apply logic (the mental kind!) when dealing with log drums,
talking drums, timbales etc. Listen to the pitch/size of the
drum and sweep through the conga/bongo frequencies.
Tuned Perc:
Woody frequencies (550 hz-1.5 khz) will harden up Marimba
and Xylophone (these have wooden keys!) Boosting 3 khz will
brighten them.
Vibraphones (vibes) have metal keys. Harden them between
2.00-3.00 khz. Brighten them between 5.00-7.00 khz.
Experiment and sweep the frequencies. Individual instruments
vary. Hard beaters will sound harder than soft, or felt
beaters.
(c) Pip Williams TVU 2005

Timpani (Timps):
Sound great when recorded with a fairly close (dynamic) and
roomier- (2 metres away condensor) mic.
Boosting 1.2-2.00 khz hardens them up. Depending on the
notes they are tuned to, try sweeping through 100-300 hz to
find the fundamental frequency. For example, 110 or 220 hz
for a timp tuned to A.
Strings:
I often never EQ strings. If the parts are written correctly and
they are recorded well, just a little brightening is sometimes all
that is necessary.
Violins:
Boost 6.00-8.00 khz to brighten. Boost 2.00-3.00 khz to make
them sound like a Mellotron (really nasal and horrid!).
Cut mid (400-600 hz) to free up the mid range and avoid
masking guitars etc.
Violas:
You may often not have too much freedom here, due to spill.
Boost 4.00-6.00 khz to brighten. Boost 2.75-3.75 khz to harden.
Cellos (celli!):
For a real Beatles, I am the walrus sound, boost 1.5-2.75 khz
to really harden them up. Boost between 2.75-4.00 khz to
generally brighten them.
Boost 250-500 hz to fatten them up and enhance the lower
notes.
Basses:
These are generally used in large orchestral sections.
Boosting 250-500 hz will give weight to plucked (pizzicato)
parts. Bear this in mind when recording a single upright bass in
a jazz combo.
600-900 hz boosts percussiveness, 1.00-2.00 khz brings out
hardness. Watch extreme lows. Sub 70 hz can sound muddy!

(c) Pip Williams TVU 2005

Brass-Horn sections (in the pop/funk sense!)

Boosting at 1.5-2.5 khz will make a small funk horn section
punchy and hard. Higher up (3.00-5.00 khz) will add brightness
and fizz.
A baritone sax sounds great if boosted at 1.8 khz and a high
pass filter applied to roll off below 150 hz.
For a rock tenor sax- boost 2.5-3.5 khz
For a ballad alto sax solo, boost a little at 4.00 khz
Harden up a trombone between 575 hz and 1.5 khz
Harden/brighten a trumpet between 2.00-4.5 khz.
Vocals:
One assumes that you have an idea how to use compressors
when recording, and have avoided wind noise (pops).
Boosting high treble between 12-15 khz can bring out the
breath sound without making the voice sound too sibilant. A
shelf EQ may be best here.
Boosting at 7-8 khz will add sparke, but can accentuate
sibilance. If you want to boost quite a lot here, you may need
to use a de-esser to compensate.
The presence register is between 4-6 khz and makes the vocal
more distinct (or closer sounding)
Take care using upper mid. Small boosts at 2.5- 4 khz may
harden up a softly sung vocal, but can sound unpleasant on
others...Experiment!
2- 3.75 khz can add clarity to spoken word or rapping.
Cutting at around 650-900 hz will take the nasal sound away
and generally make it sound more expensive, with more body
and presence.
Adding upper bass- around 250-350 hz will warm up a female
vocal. You may need lower this range to warm up a male vocal.
Cutting between say 60-120 hz with a narrow bandwidth can
help reduce the sound of mic wind pops. (This can vary)
EXPERIMENT- HAVE FUN- GOOD LUCK!!
(c) Pip Williams TVU 2005

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