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I picked up a couple of graphic EQs (dbx & nady) on Craig's, and after shaping the tone on some preamps, I was impressed by the sound and wondered why more amps/preamps don't have built-in graphic EQs. I ran my Tech 21 Leeds pedal, which sounds great in its own right, into one of the 31 band channels and I was able to subtly remove certain highs/mid-highs that I found somewhat annoying. The result was something really great. Most graphic eqs (rack versions) have the ability to add more volume overall, and cleanly. I think I'm going to buy a 2U shallow rack for the Nady Eq so I can have a quick grab and go eq for playing situations. I have an mxr 6-band eq, which is great, but I can't specifically eliminate those bands that are annoying me, though I can get pretty close. The rack eq also has the ability to add A LOT more volume to the preamp vs a pedal eq. I also find the rack eqs quite quiet. Finally, the eqs I have are within the range of human hearing 20HZ to 20KHZ. I find that eliminating frequencies above 10K can eliminate hiss/artifacts while not compromising the overall sound. Note that the highest frequency on a 24 fret guitar is about 1,300HZ. Eliminating sounds above 10KHZ shouldn't be any problem. In fact, I bet eliminating EVERYTHING above 10KHZ would be a good idea for a pedal maker. This would kill a bunch of unwanted transistor static/noise. I'll run a digitech hot head through a flat eq with the exception of the 10KHZ cutoff and see what happens. I'm sure the same could be done with the lows. A bass note on a 4-string bass guitar is a B (61HZ). I bet eliminating everything below 31HZ (one octave below the B string on a bass guitar) would eliminate fart/muffle from the sound. Anyway, random thoughts on EQs ...

A lot of "air" or "presence" happens in the upper range, putting a brick wall at 10kHz will impact some set-ups, though it is useful to have control over it. I've a few early multieffects that can't pass 10kHz and compared to more bandwidth capable things they suffer.

Rolling off lows is a good trick, you can hit channels harder and attain an assertive sound with a rumble filter. That said, sometimes I just like the rumble.

I'm a fan of subtractive EQ, lightly done.

crochambeau wrote:A lot of "air" or "presence" happens in the upper range, putting a brick wall at 10kHz will impact some set-ups, though it is useful to have control over it. I've a few early multieffects that can't pass 10kHz and compared to more bandwidth capable things they suffer.

Rolling off lows is a good trick, you can hit channels harder and attain an assertive sound with a rumble filter. That said, sometimes I just like the rumble.

I'm a fan of subtractive EQ, lightly done.

I see what you are saying with the brick wall at 10KHZ. I was actually thinking above 10KHZ. I think creating the brick wall above 10Khz is a good starting point with finer adjustments to be made. That being said, if I were making a pedal I would cut off everything above 10KHZ because more can go wrong with those frequencies above 10khz than can go right by keeping them in. Of course, one could always go the hi-freq cutoff route like with Quilter amps. And killing lows below 32HZ didn't sacrifice any thump when the preamp increased its low output. The digitech hot head (clone of ds-1 but with low knob) never sounded so good with the adjustments noted above. When adding back the highs above 10KHZ I really started to hear that "distortion pedal shrillness" that everyone tries to avoid.

crochambeau wrote:A lot of "air" or "presence" happens in the upper range, putting a brick wall at 10kHz will impact some set-ups, though it is useful to have control over it. I've a few early multieffects that can't pass 10kHz and compared to more bandwidth capable things they suffer.

Rolling off lows is a good trick, you can hit channels harder and attain an assertive sound with a rumble filter. That said, sometimes I just like the rumble.

I'm a fan of subtractive EQ, lightly done.

BTW, a lot of "air" and "presence" actually comes from high-mids. When listening to a pedal/preamp the freq band that we think is causing the problems/benefit is actually not the freq band that is causing the problems/benefit. In some cases I thought the upper highs were the problem but in actuality, it was the mid-highs. In some cases I thought the mid-highs were the sweet spot, only to realize it was the mid-lows. Sound is a very tricky thing ...

JereFuzz wrote:A bass note on a 4-string bass guitar is a B (61HZ). I bet eliminating everything below 31HZ (one octave below the B string on a bass guitar) would eliminate fart/muffle from the sound. Anyway, random thoughts on EQs ...

Eh?

Lowest note on a standard tuned 4 string is E1 which is approx 40Hz.

You're right that cutting frequencies below 30/40ish Hz definitely helps tighten up a bass sound and can remove 'boomy' quality which can help things sit better in a mix.

Doesn't work for every situation though, sometimes you want them subs!

EQ is super useful but I only tend to like super fancy graphic stuff for mixing, too many controls annoys me out front

coldbrightsunlight wrote:

JereFuzz wrote:A bass note on a 4-string bass guitar is a B (61HZ). I bet eliminating everything below 31HZ (one octave below the B string on a bass guitar) would eliminate fart/muffle from the sound. Anyway, random thoughts on EQs ...

Eh?

Lowest note on a standard tuned 4 string is E1 which is approx 40Hz.

You're right that cutting frequencies below 30/40ish Hz definitely helps tighten up a bass sound and can remove 'boomy' quality which can help things sit better in a mix.

Doesn't work for every situation though, sometimes you want them subs!

EQ is super useful but I only tend to like super fancy graphic stuff for mixing, too many controls annoys me out front

Oops, you are correrct, I was thinking of a 7 string electric guitar. The bass of the 7 string electric is a B ... thanks for the correction ...

coldbrightsunlight wrote:

JereFuzz wrote:A bass note on a 4-string bass guitar is a B (61HZ). I bet eliminating everything below 31HZ (one octave below the B string on a bass guitar) would eliminate fart/muffle from the sound. Anyway, random thoughts on EQs ...

Eh?

Lowest note on a standard tuned 4 string is E1 which is approx 40Hz.

You're right that cutting frequencies below 30/40ish Hz definitely helps tighten up a bass sound and can remove 'boomy' quality which can help things sit better in a mix.

Doesn't work for every situation though, sometimes you want them subs!

EQ is super useful but I only tend to like super fancy graphic stuff for mixing, too many controls annoys me out front

One of the most unique EQ schemes is in the Tech21 PSA 1.1. There is only a low and high eq post distortion, but there is a 3 band drive "eq" - you can accentuate different drive types (low freq drive (buzz), mid freq drive (punch), and high freq drive (crunch)) and push that into the high/low eq. It's crazy the range of sounds you can get with that scheme.

You mean it's a multiband distortion IE splits signal in 3 frequency bands and distorts them separately?

I used to have a Fairfield Four Eyes which is a multiband and it was killer. Big fan of that setup

coldbrightsunlight wrote:You mean it's a multiband distortion IE splits signal in 3 frequency bands and distorts them separately?

I used to have a Fairfield Four Eyes which is a multiband and it was killer. Big fan of that setup

It appears so ... if you accentuate the high distortion and have a very subdued bass distortion and subdued mid distortion you enter HiWatt territory. You can't really enter HiWatt territory any other way IMO ...

The one pedal that I have owned for the longest has been an MXR 10-Band EQ. For the longest time, it has sat on top of my amp as an always on tone shaper. I actually don't like how my amp sounds without it at this point. I've recently moved it onto my board though so I can work it into some feedback loops.

MrNovember wrote:The one pedal that I have owned for the longest has been an MXR 10-Band EQ. For the longest time, it has sat on top of my amp as an always on tone shaper. I actually don't like how my amp sounds without it at this point. I've recently moved it onto my board though so I can work it into some feedback loops.

See if someone in your area is getting rid of a rack eq (craig's). Buy a 2U (if 2-31 band) case for it and this can be your all the time eq. People get rid of these cheap from what I can see ...

btw, dbx has a $50 rebate right now for new eqs ... look it up ...

Popping in to say those frequencies are the base notes, a lot of the interesting harmonic sounds for distortion and what is commonly referred to as air or hi-fi sounds includes the sound there. Electric guitar is often cut around 15-17k because guitar speakers don't always produce much above that. The sound there is highly useful for creating pleasing distortion that let's the root note shine through though.

More on topic, eqs are the most underused effect though
Make wacky shapes to affect how you sit in a band, or how your frequencies distort. Try cutting everything outside 600—10k to really let a clear crisp reverb shine through without muddying up your base sound.

JereFuzz wrote:

MrNovember wrote:The one pedal that I have owned for the longest has been an MXR 10-Band EQ. For the longest time, it has sat on top of my amp as an always on tone shaper. I actually don't like how my amp sounds without it at this point. I've recently moved it onto my board though so I can work it into some feedback loops.

See if someone in your area is getting rid of a rack eq (craig's). Buy a 2U (if 2-31 band) case for it and this can be your all the time eq. People get rid of these cheap from what I can see ...

I probably will do this. I've been really tempted to build a rack lately with an EQ and a compressor. Also probably some stupidly outdated 80s effects just for fun

DRodriguez wrote:Popping in to say those frequencies are the base notes, a lot of the interesting harmonic sounds for distortion and what is commonly referred to as air or hi-fi sounds includes the sound there. Electric guitar is often cut around 15-17k because guitar speakers don't always produce much above that. The sound there is highly useful for creating pleasing distortion that let's the root note shine through though.

Said what I forgot to. Cutting sharp above 10KHz isn't that good with distortion/fuzz because lots of the fun is up there. Personally I'm more into cutting lows on guitar, highs I often leave alone