![]() Filters do not have a no-effect at a frequency and then instantly jump and suddenly reappear at the next frequency. The shape is shelf-like, so the boost or cut is progressive over a range. It is also common for the filter slope to be 6 dB per octave. This EQ can shape response in a number of ways: boost/cut low frequencies, boost/cut high frequencies. Similarly, a high-pass filter passes all frequencies above its cut-off frequency but affects all frequencies below its cut-off frequency. The Q setting determines the width of the bell, while boost or cut determines the height or depth of the bell.Ī low-pass shelving filter passes all frequencies below its cut-off frequency but attenuates all frequencies above its cut-off frequency. Whereas a shelving filter has a shelf like curve, this filter has a bell-shaped curve. There are no additional controls over the usual components, like bandwidth, Q, etc.Ī peaking EQ is an EQ that boosts a specific band of frequencies. Pretty self-explanatory, this EQ allows cut/boost of one or more frequencies. In terms of circuitry, passive equalisers place the equalisation circuits either before or after a fixed-gain amplifier - in which case the amp makes up for the inherent loss in the EQ circuit, effectively boosting the frequency range(s) that haven’t been cut.īecause of the limitations of passive EQs, most EQs are built around active filter circuits that use frequency selective components, together with a low noise amplifier. This, in itself, introduces noise into the signal path, the noise coming from the amp used to boost the signal. However, by their very nature, passive EQs, or filters, have to then have the signal boosted to compensate for the cut. Although they are inflexible, they can perform reduction (cut or attenuation) tasks reasonably well. By cutting, for example, low frequencies (bass), they make the mid and high frequencies sound ‘louder’. The way they work is actually very much to do with perception. These types of EQs have the distinction of being extremely simple in design and, more importantly, they cannot boost frequencies, only cut. However, I have made sure to include the most common types. There are so many types of equaliser topologies that it would be impossible to list them all here and offer detailed explanations as to how they work. Understanding which equaliser to use for any given task is the first battle in selecting the right equaliser for the task in hand. In music production, we are pretty lucky to have so many tools available to us and in the area of equalisation we are actually spoilt for choice. Active, Passive, Graphic, Parametric, Fixed and Peaking Eqs is a video tutorial that explains the differences between and the various equaliser topologies.
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