[BerinG]

Is there like any song I can download.. an mp3 or wav or whatever that i can use to more easily set my equalizer in the car.. of course it usually depends on the type of music etc.. but i knwo there are some dvds for tv calibration and home audio setup..

just wondering if anyone knows where i could find that.. or if theres some type of guide..

i just do it by hear but it can change from one song to the other..

its just when i listen to music in the car, the sound level are always at max (or almost)

[schade]

tried this?

taken from FJ

Quote:The pitch of a note is almost entirely determined by the frequency: high frequency for high pitch and low for low. For example, 110 vibrations per second (110 Hz) is the frequency of vibration of the A string on a guitar. The A above that (second fret on the G string) is 220 Hz. The next A (5th fret on top E string) is 440 Hz, which is the orchestral tuning A. (The guitar A string plays the A normally written at the bottom of the bass clef. In guitar music, however, it is normally written an octave higher.) We can hear sounds from about 15 Hz to 20 kHz (1 kHz = 1000 Hz). The lowest note on the standard guitar is E at about 83 Hz, but a bass guitar can play down to 41 Hz. The orginary guitar can play notes with fundamental frequencies above 1 kHz. Human ears are most sensitive to sounds between 1 and 4 kHz - about two to four octaves above middle C. Although the fundamental frequency of the guitar notes do not usually go up into this range, the instrument does output acoustic power in this range, in the higher harmonics of the most of its notes.

It is obvious that most instruments like the guitar, having the highest string on the last fret played, represents a frequency equally significant to the harmonic content of the lowest string (E) played open. The highest note playable on a 24 fret guitar is a (D octave 7) note. This has a fundamental  frequency of 1175 Hz. If you played the lowest frequency string of a guitar (E octave 3) at 82 Hz, you would find that the setting of an equalizer at the 1175 Hz would dramatically alter the sound of the low note, especially with bright new strings. 1175 Hz is just below the  4th octave of the 82 Hz E string. In summary, the frequency equalization settings that affect the quality and shape of an instrument's sound far surpass the fundamental or tuning pitches  of the instrument.

Using the Equalizer Effectively

One of the biggest mistakes to make when using an equalizer is to boost or cut frequencies above or below the dominant energy of the instrument. As mentioned earlier, these ranges extend far past the fundamental frequency of the instrument. The following paragraphs outline specific equalization applications for various instruments as well as some settings that should be avoided.

Vocals

Low frequency boosts are almost never effective for female vocals, but may be effective on male vocals to a limited extent. Boosting of lower frequencies from 500 Hz to 800 Hz will add body and warmth to the vocal. The most distinct vocal clarity range is from about 3.5 to 6 kHz. This range will enhance breath effects as well as increase the overall intelligibility of
singing and speech. This boost does not come without penalty. Excessive boost in this range increases the sibilant [pronounced sib·i·lant (sÃb¹e-lent)] effect of the voice. Sibilance occurs when the vocalist pronounces words with the letter "s". If a vocalist naturally has this problem, cutting the 3.5 kHz to 6 kHz range can cure the problem. Beware that this is the presence range of intelligible speech and too much cut will make the vocal sound muddy. Also presence may be added in the 1 kHz to 3 kHz range although, the 3.5 kHz to 6 kHz range is generally suited better for overall clarity. The other problem with boosts in this range is
vocal microphone feedback. Directional cardioid dynamic microphones are almost always used for live vocal performances. The cardioid pickup pattern created by the design of the microphone is quite effective. The overall pattern of the mic and monitor or main speaker tend to be less directional and predictable at the 3.5 kHz to 6 kHz region. It is unfortunate that this vocal clarity range must have the inherent pitfalls of transducer physics. Feedback will inherently occur freely at this range.

Bass "Kick" Drum

It is hardly ever effective to boost frequencies of a kick drum below about 60 Hz. There are applications on some modern dance music where synthesized drum patches will have dominant energy below 50 Hz. These 20 to 40 Hz fundamentals are the type that easily propagates through the closed windows of automobiles and other structures. These low frequency waves encounter little acoustical attenuation in materials and may be heard from great distances. For the generalized kick drum application, the "thump" is usually realized in the 60 Hz to 100 Hz range. The definition or "slap" of the kick drum is very essential for its relationship to the bass guitar. Boosting the kick drum at 60 to 100 Hz for the "thump" and boosting 1.5 kHz to 3 kHz for the "slap" will provide a "spectral saddle" for the bass guitar to reside. Boosting bass drum frequencies from 100 Hz to 2 kHz in excess will often cause the kick drum and bass guitar relationship to be very boomy and muddy. Letting the kick drum initial attack in the 1.5 kHz to 3 kHz region start off the event, and letting the bass
guitar fresh string harmonics provide the sustaining clarity, provide a pleasing spectral combination.

Snare Drum

Older audio references will refer to snare drum dominant frequencies being in the 1 kHz to 2 kHz region. If you are mixing sound for modern rock or country music you will find a potpourri of snare drum frequencies. Starting with disco in the 70's and the urban cowboy country craze of the early 80's, snare drum became spectrally similar with a bass drum. Experiment with a multi-octave equalizer on a stereo system with an early to mid 1980's country record, like
George Strait. You will find very dominant snare drum spectral content in the 150 to 200 Hz region. Mixes of that era as well as today use caution in not having the snare and the kick drum both being dominant in the mix since it would be difficult to tell the difference between the two drums. This often results in a "double time" effect. There are no general rules to the equalization of the snare drum with one exception. When using a real snare with a microphone, be aware that if the drum is tuned very high like a marching band snare, excessive low frequency boosts will not create a fat snare. Listen to the real drum sound up close and realize that fundamental frequencies that are not available from the drum cannot be created or synthesized by equalization. Excessive boost at low frequencies will cause pickup of other drums undesirably.

Generally, if a trigger snare patch or drum has energy in the 150 Hz range and you desire a fat snare, then use it accordingly. Some crisp quality can be added in the 2 kHz to 5 kHz region. Remember however that excessive boosting of any frequency of a snare drum means you are probably trying to get a sound that is not available from the source and you are likely picking up extraneous sounds from other nearby sources. Snare drum reverb is a diverse topic alone. The reverb usage will greatly affect overall equalization used.

Toms

Depending on the tuning of the toms, most of the effective range is from 150 Hz to 2 kHz. The lows are good for deep percussive effects but definition that cuts through the mix is usually about 1 kHz to 3 kHz. One advantage of toms particularly in a country or contemporary mix is that they are only played occasionally. That means their level and occupancy of spectral space may be loud and wide. They don't need to repetitively compete with other instruments like
kick drum and bass guitar. The application of reverb also effects equalization as mentioned in the snare drum topic.

Cymbals

Fortunately, cymbals remain fairly constant and predictable over many types of music. Their dominant energy lies in the 2 kHz to 5 kHz region. Cymbal harmonics extend up to and past the range of human hearing. Boosting of cymbals in the 10 kHz to 12 kHz region results in a very brittle sound. Usually, boosts in the dominant area of 2 kHz to 3 kHz makes the overall mix less "wet" or "noisy" than boosting in the upper region.

Electric Bass

As with the discussion of drums, boosting lower frequencies to try to create more depth than what is available is a common mistake. Most bass guitar energy lies around 100 Hz with definition in the 1 kHz to 2 kHz region. Boosting of very low frequencies will result in a "muddy" clash with the kick drum. Letting the kick drum make the fundamental, and the bass guitar rounding out the low midrange just above the kick drum results in a more clear discernible mix. The kick drum can have high definition attack for the initial hit while the bass guitar string harmonics can provide the sustaining definition for the sound.

Electric Lead or Steel Guitar

The most important rule for equalizing guitars is to realize that harmonic series content not available at the source cannot be generated or synthesized at he mixer. Most guitar and steel guitar energy lie between 80 Hz and 5 kHz. Boosting the 3 to 5 kHz range will add clarity to clean guitars but will sometimes add harsh harmonics to a distorted guitar.

Acoustic Guitar

The same frequency range applies to the acoustic guitar as the lead electric guitar. One common mistake is to listen to the acoustic guitar too much by itself rather that with the entire band. One common mistake with the solo acoustic guitar is to add too much bass. A solo acoustic guitar seems to need more low frequency boost to round out the sound than it does when played with a set of other instruments. If the low frequencies are excessively boosted, this results in a very muddy relationship with the overall mix. Remember that the acoustic rhythm guitar is as much a percussive timing component as a melodic component.
Its high frequency spectrum is most essential to the "sizzle" of the program material.

Overall Equalization

Excessive boosts of cuts in the main system EQ will drastically effect the decisions made at the individual channel EQ. One method of enhancing vocal clarity is to make sure that all other instrument individual mixer channel equalizations do not occupy the 3.5 kHz to 4 kHz band so much. The perception of presence of vocals and instruments can also be simulated by restricting other instruments to have dominant energy in that band. One common mistake for a sound engineer to make by listening to each instrument individually is to make each instrument sound very clear and present. It is easy to boost all instruments in this 3 kHz to 4 kHz range. The separation of sounds is more often achieved by spacing their dominant energy in bands not significantly occupied by others.

The most obvious mistake is excessive amounts of equalization. Experimentation with an equalizer in a home stereo system is a valuable tool to recognition of the various frequency bands. In summary, live or recorded mixing is very objectionable, and remember not everyone will have the same opinion.

[BerinG]

Thanks!

[taiyeungjai]

I assume you don't have any amplifiers and are using just a headunit to drive your speakers (4 of them), If you have a sub then reply and I can help you tune that as well.

a] Try not to tune an EQ with MP3s.. (Use regular audio cds if possible).. Lower encoded bitrates and material with lots of transients will affect your judgement and make you probably want to attenuate all of the higher end frequencies which is a no-no
b] A good catch-basin EQ would be to leave the mid range frequencies flat, and to attenuate the lower and high ends (ex. if you had a 8 band graphic eq then)

*---------*
**------**
***---***
********
12345678 (Or something like a valley)

c] If you are wildly tuning your eq, attenuating or amplying frequencies greatly + or - individually or as a whole, then you will probably not get a very good sounding system. Remember that the EQ is not a volume switch, always start with a flat EQ, and if you don't like my suggestion in b].. then start with the middle frequencies and then the low end / top end (wildly adjusting is like a vicious cycle, you tune a particular frequency and then compensate with another frequency and then before you know it you end up with everything amplified or attenuated and it becomes a mess)

d] If you have a pioneer deck that doesn't have a graphic EQ, but has a simplified 3/4 band parametric, then it gets a little easier and trickier at the same time. I'm assuming you don't have this, reply to the thread if you do..

e] Don't spend more than 30-40min at any one sitting tuning your system, as you will usually start fatiguing at this point in time and trust me.. everything will sound the same and you will tune and tune and tune, wake up the next day and find out it doesn't sound very good.

f]I have a bunch of SPL tuning tracks (for a Subwoofer). For other stuff.. I usually just use a bunch of different tracks (jazz/classical/urban/pop) and it usually works for me.

[BerinG]

taiyeungjai,Mar 10 2005, 11:11 PM Wrote:I assume you don't have any amplifiers and are using just a headunit to drive your speakers (4 of them), If you have a sub then reply and I can help you tune that as well.

a] Try not to tune an EQ with MP3s.. (Use regular audio cds if possible).. Lower encoded bitrates and material with lots of transients will affect your judgement and make you probably want to attenuate all of the higher end frequencies which is a no-no
b] A good catch-basin EQ would be to leave the mid range frequencies flat, and to attenuate the lower and high ends (ex. if you had a 8 band graphic eq then)

*---------*
**------**
***---***
********
12345678 (Or something like a valley)

c] If you are wildly tuning your eq, attenuating or amplying frequencies greatly + or - individually or as a whole, then you will probably not get a very good sounding system. Remember that the EQ is not a volume switch, always start with a flat EQ, and if you don't like my suggestion in b].. then start with the middle frequencies and then the low end / top end (wildly adjusting is like a vicious cycle, you tune a particular frequency and then compensate with another frequency and then before you know it you end up with everything amplified or attenuated and it becomes a mess)

d] If you have a pioneer deck that doesn't have a graphic EQ, but has a simplified 3/4 band parametric, then it gets a little easier and trickier at the same time. I'm assuming you don't have this, reply to the thread if you do..

e] Don't spend more than 30-40min at any one sitting tuning your system, as you will usually start fatiguing at this point in time and trust me.. everything will sound the same and you will tune and tune and tune, wake up the next day and find out it doesn't sound very good.

f]I have a bunch of SPL tuning tracks (for a Subwoofer). For other stuff.. I usually just use a bunch of different tracks (jazz/classical/urban/pop) and it usually works for me.
[right][snapback]92802[/snapback][/right]

actually i do have a pioneer..

here is what i have
http://www.pioneerelectronics.com/pna/prod...3891888,00.html

3-Band Parametric EQ .. stock speakers, no sub. its funny caus you were right in point C hehehe.. i did go one after the other etc.. which sounded better.. i went through it a few times.. also put the regular LOW, MID, HIGH all at zero to start..

anyway i have that base menu... then if I press and hold the audio button, i get another set of EQ setttings.. which as 4 bars, 4 differetn frequencies and i choose one of them.. i can go between all 4 of them and see how good it sounds.. then i can go up and down on that frequencie and it changes from 1N 2N 1W 2W .. usually 2W sounds better hehehehe

so yeah once i choser one.. i press audio again, switch to another set of 4.. i can choose again.. i have like 4 (or 3) menus like that.. then i have one to choose best frequencie for the bass, and which for treble.. in regular menu I have base and treble (as everyone), i have low, mid, high that i can turn up or down individually, and loudness.. all that kind of effect the sound

and I have high quality mp3s..nothing that pisses me off more than cheap quality mp3s.. I can use audio cds though.

yeah i was wondering if there was a good "eq tuning" cd.. but it goes with what you listen i guess..

[ANTHONYD]

Download "HELLO CITY" by the Barenaked Ladies....

Don't laugh, it's a seriously complex tune with tons of layers that will only sound good once you've got it tuned just right. Tons of bass (the real stand up kind) horns and clear acoustic guitar.

Fiddle around with the equalizer while playing this tune. It should do you well.

[darkpuppet]

BerinG,Feb 2 2005, 07:31 PM Wrote:Is there like any song I can download.. an mp3 or wav or whatever that i can use to more easily set my equalizer in the car.. of course it usually depends on the type of music etc.. but i knwo there are some dvds for tv calibration and home audio setup..

just wondering if anyone knows where i could find that.. or if theres some type of guide..

i just do it by hear but it can change from one song to the other..

its just when i listen to music in the car, the sound level are always at max (or almost)
[right][snapback]82800[/snapback][/right]

get yourself some pink noise and an oscillator.

it's the only 100% sure way.

[BerinG]

hey good idea..

**walking out the office to get an oscillator**

B)

[darkpuppet]

BerinG,Mar 16 2005, 07:02 PM Wrote:hey good idea..

**walking out the office to get an oscillator**

B)
[right][snapback]94057[/snapback][/right]

computers can play the part of oscillators as well.. you can get decent results if the mic you're using isn't absolute crap.

Something sorta like this. just have to find one that does amplitude vs frequency and you're set.

[taiyeungjai]

darkpuppet,Mar 16 2005, 08:17 PM Wrote:

BerinG,Mar 16 2005, 07:02 PM Wrote:hey good idea..

**walking out the office to get an oscillator**

B)
[right][snapback]94057[/snapback][/right]

computers can play the part of oscillators as well.. you can get decent results if the mic you're using isn't absolute crap.

Something sorta like this. just have to find one that does amplitude vs frequency and you're set.
[right][snapback]94068[/snapback][/right]

True.. however.. ultimately, the listener will have a good idea what sounds "right". More than likely this will not be the "right" that will win an SQL comp with an RTA.

When playing with the pioneer parametric EQ.. Just remember than the narrower the curve (2N(arrow)) the less the amplification or attenuation of the frequency will affect the frequencies beside it.

Likewise (2W(ide)) will affect adjacent frequencies more.. This is why it will sound better.. Otherwise a too narrow curve will cause in between frequencies to drop-out because of such a steep curve (as the frequencies move toward each end of the curve)

111111****111111
11111*1111*11111
1111*111111*1111
111*11111111*111
11*1111111111*11
1*111111111111*1 <-- 2W (Wide curve w/ center frequency of 50Hz)
25Hz---50HZ---75Hz


1111111*11111111
111111*1*1111111
11111*111*111111
11111*111*111111
1111*11111*11111
1111*11111*11111 <-- 2N (Narrow curve w/ center frequency of 50Hz)
25Hz---50HZ---75Hz

re: The best mp3s I pulled from BT last year was the 100 Best Rock Songs of all time (Guitar Legends, Pantera, Led Zeppelin, Van Halen, etc.. many of them encoded @ 320kbps)