LA Audio EQX20 - Manual (Page 15)

Page 15
INSTRUMENT
BOOSTING CUTTING
Hi-Hat and
Sparkle above 5kHz 'In the way' at 1kHz
Cymbals Ring around 250Hz
Toms
Slap at 3.5-5kHz Boomy around 300-350Hz
Bass 60-250Hz
Bass guitar
Slap at 1kHz String noise at 1kHz
Bite at 2.5kHz Boomy at 125-220Hz
Bass 40-100Hz
Acoustic guitar
Sparkle above 4kHz Boomy at 200-250Hz
Body at 125Hz Tinny at 2-3.5kHz
Electric guitar
Sex 600-900Hz Boomy below 80Hz
Bass 125-250Hz 'In the way' 1-3kHz
Bite 2.5kHz
Sparkle at 3-5kHz
Piano
Bass below 125Hz Tinny around 1-2kHz
Presence at 5kHz Boomy at 320Hz
It's a sample above 6kHz!
Vocals
Presence 3-5kHz Nasal at 1kHz
Cut through 8kHz Sibilance 7-10kHz
Body 150-400Hz Popping below 80Hz
Those who have been paying proper attention will have noticed that on the
same instrument there are suggestions for both cut and boost at the same
frequencies! Well there's no accounting for taste.
REMOVING SUB-SONICS
The 75Hz high pass filter is useful for removing subsonics such as wind
and stage noise and will often help produce a much tighter bass and vocal
sound.
MAKING A COMPRESSOR FREQUENCY CONSCIOUS
Inserting the EQX20 into the side chain of a compressor such as the GCX2
will make the compressor more sensitive to certain frequencies. Examples
of this technique are De-Essing and De-Popping.
SPECIAL EFFECTS
A passable telephone voice can be created by cutting frequencies below
300Hz and above 3kHz. Use the LF and HF sections, lowest Q (CW)
setting and adjust their respective FREQUENCY controls accordingly.