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If you ve ever adjusted the treble or bass on your home stereo, you ve already performed a rudimentary form of EQ. A slightly more advanced form of EQ for the home user is the graphic EQ, a frequently-seen hardware component in hi-fi systems that has a bank of around 5 to 15 sliders, each controlling the volume of a different frequency band. Both of these types of EQ may enhance the experience for the home user, but they lack the precision of a professional EQ. The frequencies that each knob or slider affects are fixed, and although you can precisely affect the levels, you cannot affect the exact frequency or how other nearby frequencies are affected. An overall goal of EQ is to spread out the tone of the final mix through the frequency spectrum. EQ not only irons out any irregularities in the sound, but it also purposely creates irregularities that increase the track s compatibility with the rest of the mix. The levels of the various frequency components are reduced, each track making room for the other, with the net result being a very full sound. But paradoxically, in order to create the full sound, sometimes the individual components need to be thinned. It s not as important how each track sounds on its own as how it sounds in combination with the other tracks.
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A parametric EQ, as opposed to a graphic EQ, allows you precise control over the level, frequency, and width of frequency response. This is the type of EQ most commonly used in music studios and is the EQ included in ACID Pro. ACID s EQ is comprised of a series of processors called filters. These filters come in two basic varieties: band filters and shelf filters.
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Band Filters
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A band filter raises or lowers the levels of the signal at and around a chosen frequency. The following three parameters define the filter: The frequency (in Hz) at which the signal is most amplified or attenuated The gain, or the amount (in dB) of amplification or attenuation of the signal Bandwidth (in octaves), also known as Q, which defines how much the frequencies near the center frequency are affected
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Shelf Filters
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Shelf filters are similar to band filters except that rather than affecting a range of frequencies, they affect the level of all frequencies above or below a given frequency. A low shelf will reduce or increase all of the frequencies below the frequency of the filter, and a high shelf will affect the frequencies above it. The frequency and gain parameters of a shelf filter are identical to those of the band filters, but the bandwidth parameter is replaced by a rolloff parameter, measured in dBs per octave. This represents how many decibels will be reduced or increased for each octave beyond the frequency of the filter.
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A high shelf filter that attenuates is commonly known as a low-pass filter, and an attenuating low shelf filter is also known as a high-pass filter. A filter that attenuates both low and high frequencies is called a band-pass filter. The word pass refers to the fact that those frequencies are allowed to pass through the filter.
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Several shelf and band filters are typically used at the same time, and they bundle together into a single effect in ACID Pro known as Track EQ, shown in Figure 12-6. The curve depicted in the figure is a graph of the amount of volume adjustment in dB for each frequency in the track in Hz. By default, Track EQ consists of a low shelf filter, a high shelf filter, and two band filters. In Figure 12-6, there is a low shelf filter with a very low rolloff, compared to a high shelf filter with a high rolloff. The relatively gentle slope of the low shelf filter on the left side of the curve contrasts with the steep slope of the high shelf filter on the right side. The two band filters, represented by the numbers 2 and 3, have a very narrow bandwidth and a very wide bandwidth, respectively. As you can see, the narrow bandwidth only affects a small number of frequencies, and the wide bandwidth affects a greater portion of the signal.
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