The answer is this: bandwidth.Ī brief aside on bandwidth and the Q factorīandwidth refers to the difference between a lower frequency and a higher one. Now, you might wonder how fewer bands could result in more precision. While parametric EQs typically feature fewer bands than graphic EQs, they actually yield more control. Parametric EQ takes a different, more nuanced approach. If too much high-end is leaking in, cut the gain on that 8k Hz band. So if you want to really boost your bass guitar, you can jack up the gain on the 60 Hz band of your graphic EQ. Each band can be adjusted for gain, or, prominence. These bands can number from 8 to 31, with more bands meaning more precision and control. If you recall, graphic EQ splits up the frequency spectrum into bands. Now, let’s dig a bit deeper into these variables and why they matter. And gain simply refers to the increase or decrease in dB. Q factor essentially means how wide or narrow the frequency band is (more on that later). Filter types include high-pass, low-pass, peak, notch, high-shelf, and low-shelf. However, parametric EQ has distinct advantages, namely four variables: frequency, type of filter, Q factor, and gain.įrequency refers to the specific frequency you wish to focus on. After all, every type of EQ deals with distinct measurements of frequencies. Not much can be derived from this definition. The word parametric boils down to the prefix para, meaning multiple or distinct, and metric, or measurement. Of the several types of EQ, parametric EQ sounds like the most complicated. The best-sounding vocal track might sound dull given the rest of the mix. Frequencies will naturally collide, cancel, and overwhelm the ear if left alone. Additionally, every mix must juggle several tracks and instruments at once.
#Paragraphic eq full#
But only certain frequencies will allow that instrument to really shine and reach its full potential, so to speak. This holds true for every instrument you track.Īll this means is that any instrument you record can be placed all over the frequency spectrum.
Likewise, different aspects of a crash cymbal, snare, or tom can be emphasized depending on which frequencies are boosted or cut. In fact, some powerful bass overtones can be found as high as 1k Hz. This isn’t to say, however, that the bass won’t resonate at other frequencies. The core of the bass guitar, for instance, a low-end instrument, can be found mostly between 60 Hz and 250 Hz. To keep things simple, any track in your mix will contain multiple frequencies, some more present than others. This all gets into complex physics jargon, so we won’t go much further than that. The old trope involving the finger circling the wine glass demonstrates resonance. This is due to resonance, or the resultant frequencies reflected by other objects due to the initial vibration. Still, other frequencies will rear their heads in any given recording. When we discuss a particular note, however, we’re actually referring to the fundamental frequency of that note. High-pitched notes, for instance, vibrate more quickly than lower notes. Sound waves vibrate at different speeds, or, frequencies. Remember that EQ stands for equalization, which refers to the manipulation and balancing of audio frequencies within and between electronic signals. So let’s dive deeper into the nuances of this type of EQ, and what makes it a cut above. But there are things about parametric EQ we have yet to go over. In our discussion of the different types of EQ, we briefly mentioned parametric EQ. By now we’ve gone over the importance of mixing with EQ several times.
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