=20
=20
PA HIRE IN & AROUND =
GLOUCESTERSHIRE
Parametric EQ
A Guide to Parametric Equalisers in Live =
Sound
EQ Parameters
Parametric EQ is so-called because it has controls to adjust all the=20
parameters of tone-shaping. These are:
Frequency
The central frequency of the envelope in which the signal is boosted =
or=20
cut.
Q* (see=20
below) is a relation of Bandwidth. The number of octaves (or fractions =
of an=20
octave) over which the signal is affected by boosting or cutting.
In EQ circuits bandwidth and Q describe the same =
thing, but=20
use different (and inverse) scales: the higher the Q, the lower the =
bandwidth,=20
and vice versa. The range of possible adjustment can run from about 1/60 =
octave=20
(Q =E2=89=88 90) to about 3 octaves (Q =E2=89=88 0.4).
Bandwidth is derived from the points on the EQ =
curve that=20
are 3dB above or below the amount by which the central frequency has =
been cut or=20
boosted. The centre frequency is at the midpoint (in octaves) =
between the=20
lower and upper frequencies: if the bandwidth is 2 octaves, the centre =
frequency=20
is one octave above the lower frequency, and one octave below the upper=20
frequency (e.g. 1kHz lower, 2kHz centre, 4kHz upper).
*Q refers to the Quality of a frequency filter, =
in the=20
sense that a narrow filter is of higher quality than a broader =
filter.
Gain
The amount by which the signal is boosted or cut.
For the budding mathematicians among you...
To Calculate Bandwidth
- Divide the upper frequency by the lower frequency
- Find the logarithm (base 10) of the result
- Divide the logarithm by 0.301
To Calculate Q
- Subtract the lower frequency from the upper =
frequency
- Divide the centre frequency by the result.
To Convert Bandwidth to Q
- Raise 2 to the power of the bandwidth
- Find the square root of the result=E2=80=83[solution =
A]
- Raise 2 to the power of the bandwidth
- Subtract 1 from the result=E2=80=83[solution B]
(2^bandwidth) =E2=88=92 1
- Divide solution A by solution B
(sqrt(2^bandwidth))/((2^bandwidth) =E2=88=92 =
1)
...and if you really have nothing better to =
do....
To Convert Q to Bandwidth
- Square Q=E2=80=83[Solution A]
- Double the result=E2=80=83[Solution B]
- Add 1=E2=80=83[Solution C]
- Divide solution C by solution B=E2=80=83[Solution =
D]
- Divide solution C by solution A
((((2x(Q^2)+1)/(Q^2))^2)/4
(((((2x(Q^2)+1)/(Q^2))^2)/4)-1
- Find the square root of the result=E2=80=83[solution =
E]
sqrt(((((2x(Q^2)+1)/(Q^2))^2)/4)-1)
- Add solution D to solution E=E2=80=82=E2=80=82[solution =
F]
(2x(Q^2)+1)/(2x(Q^2))+sqrt(((((2x(Q^2)+1)/(Q^2))^2)/4)-1)
- Find the logarithm (base 10) of the result
Log10((2x(Q^2)+1)/(2x(Q^2))+sqrt(((((2x(Q^2)+1)/(Q^2))^2)/4)-1))
- Divide the result by 0.301
(Log10((2x(Q^2)+1)/(2x(Q^2))+sqrt(((((2x(Q^2)+1)/(Q^2))^2)/4)-1)))=
/0.301
What it is
A parametric EQ is an equaliser which has controls for Frequency, =
Bandwidth=20
or Q, and Gain.
Some desks have one or more parametric EQ sections on each channel. =
However,=20
single- or multi-channel parametric EQs (with a varying number of bands) =
are=20
available as rack-mountable units.
Sweepable midrange EQ which has only frequency and gain controls =
(found on=20
the channel section of some budget and most mid-priced desks) is =
sometimes=20
incorrectly described as =E2=80=98parametric=E2=80=99. However, the term =
=E2=80=98semi-parametric=E2=80=99 is=20
more often used for this type of EQ. To distinguish it from this, the =
channel EQ=20
on more expensive desks - which include a bandwidth or Q control - is =
often=20
described as =E2=80=98fully parametric=E2=80=99.
What it does
It allows very precisely tailored EQ to be applied.
How it works
It works as a normal peaking =
midrange EQ=20
control, but the frequency and bandwidth are also adjustable.
How do you use it?
If all else fails, read the manual!
The main use of a parametric EQ in live systems is for tone shaping =
or=20
correcting anomalies in the sound of individual instruments or voices=20
(occasionally also in the overall sound). It can also be used (with more =
accuracy than a graphic EQ) to control feedback.
As a corrective measure, cutting dominant frequencies is generally =
more=20
effective - and sounds more natural - than boosting weaker frequencies. =
There=20
are several technical reasons for this, but a simple thing to bear in =
mind is=20
that peaks stand out, and reducing them will have more effect (and can =
be=20
achieved more easily and with greater accuracy) than trying to raise the =
troughs. Also - broadly speaking - if you've already got it you probably =
don't=20
need to boost it, but no amount of boosting will put back what wasn't =
there to=20
begin with.
The descriptions below assume that you are using one band of =
parametric EQ,=20
and that it is inserted in the channel path using the channel insert =
point.
For tonal correction:
- Set the gain control at the 0dB - no cut or boost - position =
(typically=20
this will be 12 o'clock).
- Set the bandwidth or Q control at a position =
mid-way=20
through its range (typically this will also be 12 o'clock).
- Set the frequency control at the lower extreme =
of its=20
range.
While the sound you wish to change is playing, increase the gain =
(around 6dB=20
to 10dB of boost). If this causes feedback, reduce the channel level =
slightly.=20
Sweep the frequency control slowly through its range. When you have =
found the=20
frequency that sounds worst (or is most resonant, or most prone to =
feedback),=20
move the gain control to apply a modest amount (from 3dB to 6dB) of cut. =
Finally=20
try reducing the bandwidth a little. If this makes the feedback return =
or the=20
sound worse, try increasing it a little.
For feedback control:
- Set the bandwidth or Q control at a low bandwidth (or high Q) - =
typically=20
counter-clockwise, at around 8 or 9 o'clock.
- Set the frequency control at the lower extreme =
of its=20
range.
- Apply a moderate amount (around 6dB to 10dB) =
of=20
cut.
With the channel you wish to correct open, raise the channel's output =
until=20
it is beginning to feed back. Sweep the frequency control slowly through =
its=20
range. The feedback should stop when you have found the correct =
frequency. If it=20
doesn't, increase the amount of cut and/or the bandwidth slightly, and =
sweep the=20
frequency control slowly through its range again. When you have found =
the=20
correct frequency, reduce the bandwidth and the amount of cut as much as =
you can=20
without feedback occurring.
Do you need one?
If your mixer has one or more sweepable midrange controls, a =
parametric EQ is=20
something of an indulgence, and if you have a modern digital mixer it =
probably=20
includes fully parametric EQ on all channels anyway. However, you might=20
reconsider the importance of getting one if you frequently experience =
problems=20
with feedback (either on your front-of-house or monitor system as a =
whole, or on=20
individual instruments).
Many system controllers include programmable parametric EQ functions, =
allowing a system's overall frequency response to be tailored to =
specific=20
loudspeaker combinations.
What sort do you need?
You need enough bands to cover most of the usable frequency range =
(from=20
around 100Hz to 10kHz). Frequencies below 100Hz or above 10kHz can =
usually be=20
dealt with effectively by shelving (high-pass and low-pass) filters, and =
feedback above 10kHz is unlikely to be a problem unless you're Doing =
Something=20
Unadvisable with microphone and loudspeaker positions.
If feedback is a problem at a lot of different frequencies then you =
are at=20
the limit of your system's capabilities, and a parametric won't help =
matters=20
much.
These factors combine to mean that you are unlikely to need more than =
a few=20
bands of parametric EQ.
While very narrow (1/60 octave) and very broad (3+ octave) bandwidths =
are=20
possible, you are unlikely to need anything much less than 1/30 octave =
or much=20
more than 2 octaves. If the range is given in Q values, this will be =
between 0.7=20
(about 2 octaves) and 45 (about 1/30 octave). Similarly if you need more =
than=20
10dB of cut or boost, you should consider getting new pickups, mics or=20
loudspeakers (depending on the cause of the problem).
Apart from this, every EQ has its own =E2=80=98sound=E2=80=99, so - =
if you can - listen=20
before you hire or buy.
See Also...
Documents from the section on Equalizers=20
in the Rane library, and Shure's Basics=20
of Equalization and Feedback.
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------=_NextPart_000_0000_01D0E58A.F6271B70
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Content-Transfer-Encoding: quoted-printable
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------=_NextPart_000_0000_01D0E58A.F6271B70--