
Photo 1
A really quick, really dirty intro to equalization.
This month’s topic is EQ. I’d say we’re opening a can of worms, except it’s more like opening a shipping container stuffed with 10,000 worm cans.
It’s tough to talk about—let alone teach—EQ techniques, because almost nothing is true 100 percent of the time. Take the common sentiment that the less EQ you use, the better: Yeah, that’s good advice in most cases—adding overstated EQ tends to make tracks sound artificial and/or harsh. But what if “artificial” and “harsh” are the best expressive choice?
What about all those great ’60s guitars mixed with blistering high-end EQ? (Beatles and Byrds spring to mind.) Or parts engineered to sound as small and claustrophobic as possible? (Think Pink Floyd or PJ Harvey.) Or the eerie, not-found-in-nature equalization used by Nine Inch Nails and other noisemakers? There are countless exceptions to the so-called rules.
So instead of dealing in rules, we’ll talk options. We’ll cover some common EQ techniques, and then venture into more radical scenarios. But first, here’s the quickest and dirtiest intro to EQ principles ever. (If you know this stuff already, you might want to bail now and tune in next month, when we get into some interesting case studies.)
Good news for old guitarists with bad ears: You can have severe hearing loss and still perceive the entire frequency range of an electric guitar.
Basic EQ lingo.
To gain a thorough understanding of EQ, Google “equalization” (or “equalisation” if you’re a Brit), the word from which the letters “EQ” are plucked. To gain a superficial understanding that can get you through most situations, read on!
- Equalization means adjusting specific frequencies within a sound—adding or subtracting treble or bass, or emphasizing/deemphasizing specific frequencies in the middle.
- We measure musical frequency—how high-pitched or low-pitched a sound is—in Hertz (Hz). The hearing range of a healthy young person is approximately 20 Hz to 20,000 Hz (20 kHz). If you’re middle-aged, a Motörhead roadie, or both, your upper limit is probably much lower.
- Most musical sounds contain many individual frequencies. The lowest-pitched frequency is called the fundamental. The fundamental of a standard-tuned low E string, for example, is approximately 82 Hz, but there are other frequencies—overtones—that ring out far above the fundamental. If you filter that 82 Hz fundamental from a recording of that low E, the sound gets thin and tinny, but doesn’t vanish.
- If you transpose a note up an octave, the frequency of its fundamental doubles. Drop it an octave, and the frequency is halved. Example: The 440 Hz tone we tune to is the same pitch as the A at the 5th fret of your 1st string. The A at the second fret of the G string is 220 Hz. The open A string is 110 Hz. And a bassist’s open A is 55 Hz, below the guitar’s range. The fundamental of your high E string at the 17th fret is 880 Hz.
- Good news for old guitarists with bad ears: The frequency range of an amplified electric guitar extends from somewhere around 80 (depending on how you tune your low string) to somewhere around 4.5 kHz—typical guitar speakers simply don’t transmit higher frequencies. You can have severe hearing loss and still perceive the entire frequency range of an electric guitar. The range of an acoustic guitar extends much higher, however.
- Loudness (or amplitude, to use the more science-y term) is measured in decibels (dB). Gently rustling leaves might measure 20 dB, while a jet takeoff can reach 150 dB. The threshold of pain is approximately 130 dB. The loudest rock concerts on record exceed it. In mixing, most EQ adjustments are of only several dB, though they sometimes reach ±20 dB or more.
- Bandwidth refers to the breadth or narrowness of the affected frequency range. Most guitar and amp tone controls have relatively wide bandwidths. Narrow bandwidths are sometimes called notches. Bandwidth is also called “Q.”
- Filtering is the process of removing particular frequencies. A low-pass filter (LPF) cuts highs, letting lows pass through for a darker sound. A high-pass filter (HPF) does the opposite, cutting lows. A band-pass filter affects a particular “slice” of frequencies. The width of the slice varies according to the filter’s—wait for it—bandwidth.
- An EQ tool that lets you select the target frequency and its bandwidth is said to be parametric. If you can select the frequency, but not the bandwidth (as on many active bass guitar tone controls), we call it quasi-parametric.
Take the EQuiz!
After reading the above, do real-life EQ utterances like these make sense?
“My guitar sounds a little dark—can you give me +2 dB at 2.5k?”
“Yow! I get howling feedback when I step near the monitor. Can you notch out a little 1k?”
“The bass player just went into anaphylactic shock! If I drop my low E to A, and you pump up that 50 Hz, maybe no one will notice.”
Cool. Now you can talk EQ like a pro.
EQ in your tone chain.
Where do the EQ stages in your guitar’s tone chain fit into the picture? Standard guitar tone controls are low-pass filters. Same with most distortion pedals that have a single tone control. The nature of amp tone controls varies from model to model, but a high-pass bass control, a low-pass treble control, and a band-pass mid control is a typical arrangement. Many electric basses employ quasi-parametric midrange controls, with separate boost/cut and frequency-select controls.
In other words, the EQ controls on guitars, effects, and amps are wide-bandwidth filters that produce broad effects. In the recording/mixing realm, the tools tend to be more subtle and complex. If your guitar’s tone knobs are butcher knives, studio EQ tools are scalpels.
Let’s sharpen our scalpels.
A typical EQ plug-in.
The recording guitarist can choose from a vast array of hardware and software equalizers. But for all their variation, most provide the same basic functionality. I use the EQ plug-in from Apple’s Logic Pro as my example here (Photo 1), but you’ll find similar features on many equalizers.
This particular plug-in is an 8-band EQ, which means it offers eight independently adjustable filters, though you seldom need that many. Note the three rows of numbers below each color-coded band. The top one is the active frequency in Hz. The middle is the amount of boost or cut in dB. And the lowest number represents bandwidth.
Let’s check out the effect they have on the sound of a distorted guitar track. Ex. 1 has no EQ — it’s the sound from the amp as heard by the mic.
In Ex. 2, I’ve activated the leftmost band, a high-pass filter that chops everything below a specific frequency.
Photo 2
Here, set to 150 Hz (Photo 2), it thins out the sound in a big way.
Photo 3
The rightmost band is a low-pass filter that works the opposite way. Set to cut everything above 1.1 kHz (Photo 3), it makes the guitar sound dark and dull.
Recording Guitarist: ABCs of EQ -- Audio 3 by premierguitar
Listen to Recording Guitarist: ABCs of EQ -- Audio 3 by premierguitar #np on #SoundCloudBands 2 and 7 are shelving filters. They too affect everything above or below a particular frequency, but they can boost levels as well as cut them.
Photo 4
Cranking the lows as in Photo 4 creates a rumbling, bottom-heavy sound.
Photo 5
A high-shelving filter (Photo 5) is often used to broadly brighten a guitar track.
Photo 6
The middle four bands are the most powerful. These fully parametric EQ bands can cut or boost any audible frequency at any bandwidth. Set to a narrow bandwidth (Photo 6), they can add a honking, wah-like resonance.
Photo 7
Set to a wider bandwidth (Photo 7), it brightens a much larger swath of sound.
Photo 8
Finally, I’ve combined multiple EQ bands for a fairly typical crunch-guitar EQ adjustment (Photo 8).
Recording Guitarist: ABCs of EQ -- Audio 8 by premierguitar
Listen to Recording Guitarist: ABCs of EQ -- Audio 8 by premierguitar #np on #SoundCloudWhich sounds best?
Heard in isolation, probably the first example, with no EQ. But guitar tracks seldom exist in isolation. The “right” setting always depends on the context. And that’s where we’ll pick up the thread next month, when we look at real-life EQ adjustments in real-life studio contexts.
[Updated 1/11/22]
- The Most Powerful Pedal? - Premier Guitar ›
- Bass EQ Basics - Premier Guitar ›
- Increase Your IQ on EQ - Premier Guitar ›
Though Lou Reed seemed to only use a handful of chords, his shrewd right-hand strumming created limitless rhythmic variations.
Beginner to Intermediate
Beginner to Intermediate
- Focus on syncopation.
- Add muted strums to enhance your rhythm playing.
- Learn how to modify complex rhythmic patterns into smaller, more comprehensible figures.
Though usually more lauded for his lyrics than his guitar playing, Lou Reed had a distinctive style of strumming that can make replication a challenge and seemingly impossible for beginners to comprehend. With a combination of syncopations and muted strums, Reed’s rhythm guitar—from his time with the Velvet Underground to his solo career—has a groove and feel that all guitar players can learn from.
We’ll start with a relatively simple strummed hook that shows Reed’s roots. Ex. 1 is a variation on “There She Goes Again” from The Velvet Underground and Nico, which was recorded in 1966 and released in 1967. This strum was clearly inspired by Marvin Gaye’s “Hitch Hike,” as it duplicates Gaye’s intro almost exactly, albeit in a different key. (It is worth mentioning that “Hitch Hike” also inspired the Beatles “You Can’t Do That.”)
Ex. 1
Ex. 2 is the samething but performed with cowboy chords instead of barres.
Ex. 2
With Ex. 3, a la “Sister Ray” from 1967’s White Light/White Heat, we get into Reed’s more syncopated strums. Note that after the first beat, the emphasis of each strum is on an upbeat, including the changes from G to F, then from F to C, followed at the end by a typical Lou Reed-ism of strumming while in mid-change (though in all fairness, many guitarists do this). Thus, the last upbeat notes, which imply a G chord, are in fact a byproduct created by the switch, not a specific chord.
Ex. 3
Ex. 4 is the same strum but capoed at the 5th fret, using cowboy chords instead of barres.
Ex. 4
Our final Velvet reference, Ex. 5, comes from “Sweet Jane” (Loaded, 1970), which is a song I loathe teaching to students as it is deceptively tricky—it was the inspiration for this lesson—and can make one feel demoralized. True, the song has only four chords, but the syncopated switching and muted strums can cause problems for many players, and not just beginners. Take your time to get the nuances of the switches and mutes.
Ex. 5
Better yet, start with Ex. 6, which is a simplified version of Ex. 5, using cowboy chords instead of barre chords, as well as a more straightforward strum. True, it does not conform completely to the original, but it is a worthwhile starting point. Once this is mastered, try playing Ex. 5 with the open-position chords before moving onto the barres.
Ex. 6
Solo Years
Ex. 7 is a take on “Walk on the Wild Side” from 1972’s Transformer, arguably the most famous Lou Reed song. Here we’ve graduated from eighth-notes to 16th-notes in the right hand. Once again, the muted strums play a vital role.
Ex. 7
Like the previous two examples, you might want to start with the simpler Ex. 8, although the only change is that the mutes have been omitted. This example demonstrates how essential the mutes are, as the feel changes completely when you leave them out.
Ex. 8
Ex. 9 also comes from Transformer and is a variation on“Vicious.” Additional syncopations and muted strums, both different from “…Wild Side,” complicate what should be carefree.
Ex. 9
Ex. 10 is, again, a simplified alternative.
Ex. 10
Examples 11 and 12 demonstrate two options for fretting chords, using Reed’s “Leave Me Alone” from Street Hassle (1978) as a vehicle.
Ex. 11
Ex. 12
Our last example, Ex. 13, is based on Reed’s late-’80s “comeback” hit, “Dirty Boulevard” from New York. Here we not only get syncopations, but a rhythmic variation in the chorus—same chords, different rhythms. Pay attention to that quick, almost-ghosted B note on the “and” of 1 in measure two. It almost seems like a mistake but it adds so much.
Ex. 13
The Lou Reed Legacy
When most fans think of Lou Reed, the first thing that comes to mind is his pioneering subversive, transgressive, and poetic lyrics. But, clearly, that is not all there is to his work. In truth, Lou Reed is an incomparable musician whose guitar playing should not be underestimated. So, take this lesson as a starting point and search out more of his idiosyncratic strums. You will be well rewarded.
Xotic revamps a classic Vox-boost-in-a-box pedal, creating a new one in the process.
Smart, feature-packed update on a classic. Nice size and price.
Small boost knob.
$180
Xotic Effects AC Booster V2
Xotic Effects newest version of the Vox-flavored AC Booster, the AC Booster V2, adds a second, footswitchable boost circuit (tweakable via a small, clear knob tucked among the four main-channel controls), plus a set of four dip switches on the box’s righthand side which engage compression, modern or classic voicing, low-mid boost, and high-mid boost.
This new suite of features packs significant extra functionality into V2’s still-diminutive enclosure. The Vox sounds are all there, and with the high-mids juiced and treble nudged, you’re squarely in clanging Top Boost territory. The modern voicing trades some furry mid-range chunk for a bit more aggression and clarity, while the compression is useful for leveling leads and smoothing out unruly playing.
The boost knob is a little difficult to access, situated as it is in the center of the primary four-knob array. I don’t have particularly big fingers, but even I had trouble twiddling it. That’ll annoy some. But it’s a small price to pay for such a pedalboard-friendly footprint. The boost doses you with a healthy bump in level and gain that’s great for stand-out leads and solos. And speaking of standing out, the upper-mid boost switch is a treat. I found that creating a greater disparity between the high mids from the low mids made for a more precise and satisfying tone-shaping experience than I would experience using a standard mids knob.
There are no shortage of pedals that ape Vox AC30 mojo, but I haven’t seen many that will give you the range of utility that the AC Booster V2 will, for less for $200. Xotic nailed a smart and versatile redesign here.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Nashville luthier and guitar tech Dave Johnson shows us the baker's dozen of tools he thinks any guitar picker requires to be a guitar fixer.
3. Guitar Tech Screwdriver Set - 3000
4. Nut File Set (for medium guitar strings) - 0882
8. String Spacing Ruler - 0673
9. Nut and Saddle Files - 4556
The Ultimate Guitarist's Tool Chest Giveaway
Whether you're setting up your first guitar or fine-tuning a custom build, these are the 13 tools every guitarist needs. Now you can win them all. We've partnered with our friends at StewMac to give away a complete pro-level toolkit valued at over $750.
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