528E
17
Know What You Are Listening To
Low frequency boost may increase the level of some frequencies that cannot be heard, for one rea-
son or another. Many high quality microphones are capable of generating substantial output at very
low frequencies (below 50 Hz) which cannot be adequately reproduced by most monitor speakers
or headphones. Be aware that the true effects of low frequency boost may not be audible, and may
actually result in a “muddy” or distorted sound.
Use Wide Peaks, Narrow Dips
In general, the human ear prefers wide bandwidth peaks and narrow bandwidth dips. Boosting a
narrow bandwidth produces a sound usually perceived as “offensive,” while boosting wider band-
widths (.7 octave or greater) usually results in a sound deemed “musical.” It has also been observed
that very few people will notice anything’s missing when a narrow bandwidth (.3 octave or less) is
cut, even when it’s cut as much as 30 dB. But, cut a wide bandwidth and the resulting sound qual-
ity is often called “empty.”
Tuning the EQ/Notch Filter
To “tune” the equalizer, use full boost. For both boost and cut, the 528E’s parametric equalizer
is intended to be put to work on specifi c frequencies. To fi nd a particular frequency “by ear” (the
method used by everyone who doesn’t have a real-time analyzer), turn the cut/boost control all the
way up to +15 dB (be very careful of feedback if you are monitoring on a loudspeaker!). Set the
bandwidth for about .3 octave (max CCW). Tune the frequency control until you distinctly hear the
part of the sound you wish to control. Then, adjust the cut/boost control for the appropriate amount
of change, and readjust the bandwidth control if necessary.
Equalizing for Speech
In broadcast, equalizers are often used to create a sonic personality for the station’s on-air talent.
In production applications, it is practical to write down each person’s settings. In broadcast ap pli -
ca tions (on-air), most stations try to fi nd a single composite setting that works for all of their on-air
talent. If your station’s on-air talent is comprised of both men and women then fi nding a single,
compromise setting becomes more diffi cult. A possibly more workable solution might be to use a
single-D3 microphone (so it has proximity effect) and to vary the working distance to alter the low-
frequency response somewhat.
Some general thoughts on speech equalization:
1. Try to use wider bandwidths. Narrower bandwidths (1/2 octave and less) are less audible
(harder to hear) and are generally only useful for remedial work. Broader bandwidths are
less obnoxious, more pleasing sounding, and easier to work with (especially if you’re
boosting a range of frequencies).
2. Try to avoid massive amounts of boost or cut. If you’re only trying to impart a fl avor (like
sprinkling salt and pepper on a meal), then 6-8 dB of boost or cut should be all that you
need.
3. A wide bandwidth cut is equivalent to a boost at the frequencies surrounding the cut.
4. A quick way to fi gure out what’s going on is to set the level of one band of the equalizer
to full boost (+15 dB), then switch to the frequency control and vary the frequency of that
band of the equalizer while listening to program material fed through the unit. This usually
makes quick work out of fi nding the region that you want to work on. Now reduce the level
setting to something tasteful.
A common problem when trying to set an equalizer for someone’s voice is converting the de scrip -
tive adjectives that people use in describing the character of a voice into the numbers that make
equalizers happy. The following table list some commonly used adjectives and their corresponding
fre quen cy ranges.
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