22
Passeq Analog Code
®
Plug-in
Using Equalizers
Processing Examples
Here we provide approximate values which may expand to adja-
cent areas.
50 Hz – cut: Reduces boominess in all lower instruments (basses,
kick drums, toms). The implicit increase of the relative level of har-
monics improves the presence of bass lines.
50 Hz – boost: Lower frequency instruments sound fuller.
100 Hz - cut: Limits boominess, greatly increased guitar clarity and
limits sustain with Toms.
100 Hz – boost: Firmer bass sound for all low frequency instru-
ments, adds more warmth to piano and horns.
200 Hz – cut: Less muddiness with voices and middle instruments,
while helping to eliminate the “gong” resonance with cymbals.
200 Hz – boost: Fuller sound for voices, snare drums and guitars.
400 Hz – cut: Limits hollower sound qualities in lower drums.
400 Hz – boost: Clearer bass lines.
800 Hz – cut: Diminishes the “cheap” sound of some guitars.
800 Hz – boost: Noticeably clearer, punchier bass lines.
1.5 kHz – cut: Reduces an uninteresting sound in guitar tracks.
1.5 kHz – boost: Clearer, cleaner basses.
3 kHz – cut: Hides badly tuned guitars or poor intonation.
3 kHz – boost: Better bass guitar attacks, more attack with electric
and acoustic guitars, snares and other percussion as well as lower
piano parts, more voice clarity.
5 kHz – cut: Softens thinner or tiny sounding guitars.
5 kHz – boost: Improves voice presence and brightens guitars,
gives more attack to low frequency drums, piano, and A-guitars.
7 kHz – cut: Reduces sibilants.
7 kHz – boost: Provides more attack with percussive instruments.
10 kHz – cut: Also reduces sibilants.
10 kHz – boost: Brightens voices, similarly brightens guitar, piano
and harder cymbals.
15 kHz: Boosts in this range brighten most sounds, but be careful
with hidden dangers such as emphasizing noise, hiss and/or creat-
ing excessive sibilance. The rule always applies: Before reaching
for the knob to boost, first try cutting elsewhere for accentuations.
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