05 May The Very “Secrets” of Equalizing a Recorded Guitar
After months and months of time spent with my Sonnox Oxford Equalizer, I just bumped into this terrific, super short write up done by Scott Smith at Legendary Tones.
I’m reposting here just the very core of it, worth studying by memory.
This means, practically, that everyone one of you, every single one of you recording their guitars – no matter with what and how – should at least read it 10 times and maybe, print it out and stick it on your monitor. I have 😀
The goal of EQ’ing the guitar is to bring out the best frequencies, and cutting the frequencies that will likely clash with the other instruments on the recording. Make sure you have a strong idea of what kind of sound you want to end up with, so you can better tailor that sound around the other instruments. Note that this is totally subjective based upon what type of music you are playing, and the overall sound you wish to achieve. My best advice is to experiment until you find a good solid tone that doesn’t cancel everyone else out.
Close Microphone EQ Ranges
The frequency ranges of EQ for guitar are consistent no matter if you desire a distorted sound or a clean sound. You will find the bottom end, or ‘growl,’ of the guitar in the space around 100Hz. This frequency when boosted conservatively (2 – 3 decibels (dB)), will give the guitar the warmth, however, it is VERY important to be careful when tinkering around this frequency because at 200Hz you will find a frequency that in too large of an amount will destroy all clarity in a recording and ‘muddy’ it up. The ‘body’ frequencies can be found between 500 and 600Hz, and can be boosted slightly. By slightly, I mean 2 to 5 dB. The frequencies that bring out the psycho acoustics and give the guitar sound its ‘edge’ lie between 3 and 4KHz. Boosted slightly, they can provide a solid, cutting sound, however, used too heavily, they can be piercing and cause headaches. The 5 – 8KHz frequencies bring out the sibilants. A small boost (1-2dB) in this range will give the sound a little bit of ‘sparkle,’ and will bring out the sound of the pick on the strings. Finally, to give the sound some high-frequency clarity, you can boost the 10KHz range (Try 5 – 7dB). This will set the guitar apart from other instruments that may be playing in its register, such as piano.
100Hz Slight boost (2 –3 dB)
200Hz Slight cut (1dB)
5 – 600Hz Slight boost (2 – 5dB)
3 – 4KHz Slight boost (1 – 3dB)
5 – 8KHz Small Boost (1 – 2dB)
10KHz Boost (5 – 7dB)
Distant Microphone EQ Ranges
This mike is much easier to work with, as it depends on the sounds of the room which frequencies will be boosted. The only definites I would recommend are boosting the ‘clarity’ frequencies at 10KHz and up. Try boosting in increments of 3dB up to a maximum of 10dB for best effect, and generally try to keep the 10KHz frequency at about 2/3s that of the 15KHz frequency. The other important frequencies to pay attention to are the 100Hz, which you can slightly boost by about 1.5 – 3 dB, and 200Hz, which I would cut by about 2dB. That will maintain signal clarity while eliminating the ‘muddy’ sound.
After that, I would recommend that you experiment with the frequencies we used on the close microphone. Depending on your particular room, you will have to adjust them accordingly, and results will vary.
This concludes the first installment of THE HOME RECORDING CHRONICLES. Tune in next time for tips on how to record drums effectively without having to worry about microphone phase cancellation. For now, I bid you adieu and happy recording
rockabillybobPosted at 00:09h, 08 March
06AngusSGPosted at 07:51h, 05 May
That is COOL. I’m soon planning on buying either a Neumann TLM102 or an Audio-Technica AT4047.
Any pro’s con’s between the 2????
All input in helping me decide between them would be great!! 😛
bananePosted at 08:02h, 05 May
Don’t know both but I’m also thinking about buying a good condenser mic here. But a lot of Fils recordings are done with an AT4047, before he got his old Neumann repaired.
06AngusSGPosted at 08:09h, 05 May
Yah. I only have the $ cause I sold the muscle car you saw in my “Shirt” pic.
I e-mailed Fil as well for his opinion. (I was pretty sure he had the 4047)
I’ve also read alot of excellent reviews on the Neumann 102.
Hard decision concidering what seem to be 2 great options in a very close price range. 😛
bananePosted at 08:34h, 05 May
I see, hope it didn’t hurt too much selling it. Yeah, that’s a hard decision because you can’t just try them out. Will also look into that topic because I thought about buying the AT4047.
SoloDallasPosted at 09:24h, 05 May
the only one I recommend (because I know of it) is the AT4047sv (the ones I have). It’s the SAME model that AC/DC used live recently (probably, the new live show incoming was recorded with AT4047sv – I think so actually) so… at that price range, you can’t go wrong since it’s the SAME microphone AC/DC used too. It’s a clone of a Neumann U47 FET, which is a tubeless version of the Neumann U47 I have (older).
bananePosted at 10:11h, 05 May
Alright, will keep that in mind, thanks. Fil, other question: today The Vega from Rebecca came in. Did you get yours too and can you telle me from the manual what’s the “Acc” input for? Looks like a external power connector to me.
SoloDallasPosted at 10:25h, 05 May
Didn’t get mine yet bro’. The ACC input is for an external battery pack OR power supply. However, it must comply to the internal capabilities of the unit, meaning that, it hardly will be “stronger” than the output provided by the batteries alone, unless this has been designed into the unit.
Did you get the older diversity system yet? Impressions?
bananePosted at 10:40h, 05 May
Yes, got all the Vegas I had buy now. All 3 are working, but as you assumed, it lacks the +20db boost. Sound is like “Yeah, thats the right basis” but you won’t get further from there. The older one has the same tone like the one from Rebecca. To sum it up: the battery driven Vega devices won’t make it.
SoloDallasPosted at 10:43h, 05 May
Scheisser comes to mind.
bananePosted at 11:10h, 05 May
Yes, thats what thought too this morning after trying Rebeccas Vega: “Scheisse!” 🙂
Well, aside from not having “the” tone, they are working and in good condition. Probably I’ll sell 2 and keep one for myself. Or I’ll keep them all and watch out for your model with a frequency that matches one of my transmitters.
SCgrad98Posted at 05:42h, 06 May
Where are you guys getting a secret stash of Vegas??? I’m so anxious to get one but all I can find are the receivers. 🙁
bananePosted at 08:33h, 06 May
Via Google, I found mine on several “old stuff for sales” pages from production companies.
However, I only got battery driven Vegas, these are missing the very important “+20 db” boost switch. They have a nice tone and I like them, but you can’t do the things Fil does with his Vega, so you won’t get that BiB tone with them.
Andrea SgPosted at 08:19h, 05 May
both of them are good quality mic.. the price is the same 550 600 usd new or maybe more but used around 400 usd you can find one.. here get a look to the info
Acoustical operating principle Pressure gradient transducer
Directional pattern Cardioid
Frequency range 20 Hz … 20 kHz
Sensitivity at 1 kHz into 1 kohm 11 mV/Pa
Rated impedance 50 ohms
Rated load impedance 1 kohms
Equivalent noise level, CCIR1) 21 dB
Equivalent noise level, A-weighted1) 12 dB-A
Signal-to-noise ratio, CCIR1) (rel. 94 dB SPL) 73 dB
Signal-to-noise ratio, A-weighted1) (rel. 94 dB SPL) 82 dB
Maximum SPL for THD 0.5%2) 144 dB
Maximum output voltage 13 dBu
Supply voltage (P48, IEC 61938) 48 V ± 4 V
Current consumption (P48, IEC 61938) 3.5 mA
Matching connector XLR3F
Weight approx. 260 g
Diameter 52 mm
Length 116 mm
ELEMENT Externally-polarized (DC bias) condenser
POLAR PATTERN Cardioid
FREQUENCY RESPONSE 20-18,000 Hz
LOW FREQUENCY ROLL-OFF 80 Hz, 12 dB/octave
OPEN CIRCUIT SENSITIVITY -35 dB (17.7 mV) dB re 1V at 1 Pa
IMPEDANCE 250 ohms
MAXIMUM INPUT SOUND LEVEL 149 dB SPL, 1 kHz at 1% T.H.D.;
159 dB SPL, with 10 dB pad (nominal)
NOISE 9 dB SPL
DYNAMIC RANGE (typical) 140 dB, 1 kHz at Max SPL
SIGNAL-TO-NOISE RATIO 85 dB, 1 kHz at 1 Pa
PHANTOM POWER REQUIREMENTS 48V DC, 3.0 mA typical
SWITCHES Flat, roll-off;
10 dB pad (nominal)
WEIGHT 14.5 oz (410 g)
DIMENSIONS 6.69″ (170.0 mm) long,
2.10″ (53.4 mm) maximum body diameter
OUTPUT CONNECTOR Integral 3-pin XLRM-type
ACCESSORIES FURNISHED AT8449/SV shock mount for 5/8″-27 threaded stands; microphone dust cover; protective carrying case
AUDIO-TECHNICA CASE STYLE R1
i prefer tha last one 😉
i’ve got a similar issue, i ‘have to buy a cabinet but what :/
1960AX , 1960AHW , or 1960A
are better g12h-30 or g12m greenback or what else
bananePosted at 08:36h, 05 May
That’s a question for George 🙂 I would go for a non-slanted cabinet with G12M. But let’s see what George says 🙂
Andrea SgPosted at 08:47h, 05 May
ahah yes it was for George, but other opinions are accepted 😉
me too ,i’d like to get a non-slanted anyway..
but i have to decide what the hell i gonna put in it
SoloDallasPosted at 09:27h, 05 May
Well, you guys know that I use both. Also AC/DC used both. The difference is in the bass response. Non slanted ones have more bass. But this doesn’t mean that the slanted ones don’t have a huge bass kick! Right now, I am ONLY using the slanted one from 1969 with pre-rolas. I also bought another set of G12Ms from 1969, speakers only. Likely, those will go into the non slanted 1973 checkered non slanted cabinet that right now has G12H30s. So that, I will have pre-rolas in both slanted and non slanted and Basket wave/checkerboard grill cloths. My favorite ones are G12Ms prerolas. In general, I like better G12Ms. So to say that, a slanted one is also a great choice!
Andrea SgPosted at 11:29h, 05 May
Cool ,so the difference concern the bass response..
But pre-rolas what’s mean?
SGACEPosted at 23:48h, 05 May
1960AX : vintage look, chinese speakers
1960: OUT of the equation
1960AHW: British made replica of g12h30 444 cone code.. nice
OLD 1935 or 1982 models: blackback g12h30 even nicer
OLD 1960 1974-1980 : blackback g12m25 even nicer
VERY OLD 1968-1973 models: LOL
anyway AHW or BHW are good substitutes for the old stuff but I think that foe less money You can find a bargain from web (bay, etc etc.)
Andrea SgPosted at 10:21h, 06 May
thank you sgace!
the 1960ax got the greenback g12m25?
and chinese speaker sound different then the uk’s?
very old … sounds like LOL yea
bananePosted at 06:57h, 05 May
Nice guidlines, thanks 🙂
Andrea SgPosted at 03:23h, 05 May
wohh in english it’s very hard understand all the words
maybe i have to read it 30 time 🙂