When we talk about EQing or Equalisation we are talking about adding or subtracting certain specific frequencies (or groups of frequencies to be more correct) from a sound to make it sound more pleasing to the ear. When done correctly this can be a great tool to enhance the overall sound of a patch, instrument or mix.
First of all the speakers or headphones used when EQing will drastically affect the outcome. For example if the speakers you are using have little or no low end, you will be tempted to boost lower frequencies to compensate for this. Or if the speakers/headphones accentuate the lows and highs of a sound, you will be tempted to either reduce lows and highs while EQing or add more mid range frequencies to compensate. So it’s a good idea to use speakers/headphones that have a relatively flat EQ response, or if you don’t have that option, just be mindful of those frequencies your speakers/headphones lack or are boosting when EQing and take that into consideration.
When looking at EQing from a Keyboardists perspective we use EQing for two main purposes.
1/ To enhance the overall sound of a patch.
2/ To create uniformity between multiple sounds or groups of sounds.
1/ By boosting or reducing certain frequencies within a patch we can affect the overall tone of a patch to make it sound more pleasing to the ear. When EQing, our ears actually pick up boosted frequencies better than reduced or cut frequencies. So a little trick when EQing, to find out the exact frequencies we want to boost or cut, is to start off by majorly boosting frequencies at the top of the frequency spectrum. From there slowly sweep it from high to low (or low to high if you want). That way your ear should pick out those frequencies that sound good or bad, and you can boost or reduce those frequencies accordingly. Once you’ve found the frequencies you want to boost or cut, adjust the bandwidth of the EQ to either take more or less of the frequencies on either side of the specific frequency you have just found and reduce or add level to the EQ to best suit what your ears are hearing. You can repeat this multiple times to add and cut groups of frequencies within a patch.
2/ As a keyboardist we can also use EQing to create uniformity between patches, groups of patches, or keyboards. This is extremely useful when using multiple keyboards of computer-based sounds. Most of the time sounds within a keyboard will sound pretty good across all patches because the manufacturers have done the hard work of making sure all their sounds sound similar EQ wise across the board. Trouble may arise when you use different keyboards or computer-based sounds. Especially when computers have software from multiple companies. By EQing we can balance the tone of various patches (or the whole keyboard if need be) to match all the other sounds we are using. For example if you are using a computer to produce your sounds and lets say as you are scrolling though your patches and you notice that your Rhodes sound has a lot more bottom end compared to your other sounds. By adding an EQ to this patch and taking out some of the bottom end you are insuring that all your patches sound constant across the board. Again, let’s say you are using two different keyboards and one of the keyboards sounds a lot brighter tonally than the other one across all of it’s sounds. You can simple reduce the highs using an EQ on the master output of that keyboard to match the other, or if you are using a mixer to mix the two keyboards, use the EQ on that.
Obviously EQing can be a bit of a difficult thing if you have never attempted or even thought about using it before. Like anything you get better with practice, but a great idea is to ask someone experienced in this area to help you out. This way you’ll be able to see physically what they do and learn directly off them.
Well hope that helps… Happy EQing!
Tags: Creative, EQ, keyboard, Keys, peter james
I have a korg m3 that we use in our worship in my church and I noticed in your newest DVD that u also use one. I was really hopin u could maybe pass on some of the sounds and pads u use on it. I would greatly appreciate it. You guys constantly have the most amazing pads. Sometimes I just listen to your instrumentals just because the music itself is amazing then you add Gods annointing on top of it and you have Hillsong music. Thanks guys for all you do!!!
Sometimes is hard to get a similar sound from the stage monitors or from the front like the sound from the headphones. A good thing to have next to you is a little mixer with 4 channels (more if you have more keys) with 4 band EQ. This way you can adjust the EQ separately for each keyboard. Is there a different hardware that works better than a little mixer for this purpose?
I hope this isn’t an odd question to ask, but here it goes…
Our church is going to purchase a keyboard. I’m not sure what brand. I’m thinking about getting a few Christmas presents for the keyboard players since i drew them for Secret Santa. I know for guitar players(like myself) theres a whole world of other stuff to get besides guitars that we like to splurge on here and there(strings, pedals, amps, straps, etc…). is there anything of that nature for keyboard players?
I’m a keyboard player and what a can say is, how much do you want to spend on it? Want to buy a new keyboard? For piano, go for motif or for less money, go for a yamaha P series. What kind of music? Maybe you need a nord for the hammonds and rhodes. But for the little stuff, like drum sticks strings, for keyboard player I guess some nice headphones, some pro p10 cables, a nice stand, maybe a new hard case if you do gig with it. Or maybe one of those little synths (microkorg, alesis ion, etc) or a audio/midi interface if the guy use a laptop, or a VST for it.
from a keyboardist point of view 
ECUALIZAR O NO ECUALIZAR - PETER JAMES
Cuando hablamos de EQing (pronunciado en español como “Écuin”) o ecualización, hablamos de añadir o quitar ciertas frecuencias específicas (o grupos de frecuencias, para ser más exactos) de un sonido para hacerlo más placentero al oído. Cuando se hace correctamente, puede llegar a ser una excelente herramienta para mejorar el sonido general de un patch, instrumento o mezcla.
Primero que nada, los parlantes o audífonos que uses cuando estés ecualizando van a afectar drásticamente el resultado. Por ejemplo, si los parlantes que estás usando tienen poco o nada de bajos, te vas a ver tentado a realzar las frecuencias bajas para compensar esta particularidad. O si los parlantes/audífonos acentúan los bajos y altos del sonido, te vas a ver tentado a reducir los bajos y altos mientras ecualizas, o a añadir más frecuencias medias para compensar. Así que es una buena idea usar parlantes/audífonos que tienen una frecuencia plana de ecualización, o si no tienes opción, simplemente cuando estés ecualizando, ten en mente esas frecuencias que tus parlantes/audífonos carecen o que están realzadas.
La ecualización del punto de vista de un tecladista sirve para dos propósitos principales.
1/ Para mejorar el sonido general de un patch.
2/ Para crear uniformidad entre múltiples sonidos o grupos de sonidos.
1/ Al realzar o reducir ciertas frecuencias de un patch, podemos afectar su tono en general para hacerlo sonar más placentero al oído. Cuando ecualizamos, nuestros oídos de hecho reciben mejor las frecuencias realzadas que las frecuencias reducidas o cortadas. Así que un pequeño truco de ecualización para encontrar las frecuencias exactas que queremos realzar o cortar, es principalmente comenzar por realzar las frecuencias al tope del espectro de frecuencias. De ahí, lentamente barres cada frecuencia de alto a bajo o viceversa, según tu gusto. De ese modo tu oído recibe esas frecuencias que suenan bien o mal, y puedes realzar o cortalas según el caso. Una vez que hayas encontrado las frecuencias que quieres realzar o cortar, ajusta el ancho de banda del ecualizador para incluir más frecuencias o menos frecuencias a cada lado de la frecuencia específica que acabas de encontrar; o reduce o añade al ecualizador el volumen (nivel) que mejor convenga a lo que tus oídos escuchan. Puedes repetir esto varias veces para añadir o cortar grupo de frecuencias dentro de un patch.
2/ Como tecladista, también puedes usar la ecualización para crear uniformidad entre patches, grupos de patches, o teclados. Esto es extremadamente útil cuando usas varios teclados cuyos sonidos se basan en computadoras. La mayoría del tiempo, los sonidos dentro de un teclado van a sonar muy bien en todos los patches, pues los fabricantes han hecho la dura tarea de asegurarse que todos sus sonidos tengan una ecualización similar a través de todas las teclas. Se puede presentar un problema cuando usas diferentes teclados o sonidos basados en computadoras. Especialmente cuando las computadoras tienen programas de diferentes compañías. Pero al ecualizar, podemos balancear el tono de diferentes patches (o todo el teclado de ser necesario) para que cuadre con todos los demás sonidos que estamos usando. Por ejemplo, si estás usando una computadora para producir tus sonidos y digamos que mientras vas navegando por tus patches, te das cuenta que tu sonido de Rhodes tiene muchos bajos en comparación con tus demás sonidos. Sin embargo, al añadir ecualización a este patch de Rhodes y quitando algo de bajos, te aseguras que todos tus patches suenan constantes a través de las teclas. Una vez más, digamos que usas dos teclados, y los sonidos de un teclado tienen un tono muy brillante en comparación con los sonidos del otro teclado. Puedes reducir simplemente los altos usando un ecualizador en la salida master de ese teclado para que cuadre con el otro, o si estás usando una consola para mezclar los dos teclados, usa el ecualizador de esa consola.
Obviamente, ecualizar puede parecer algo difícil si nunca lo has intentado o si quiera pensado en hacerlo. Pero como todo, vas mejorando con la práctica. Una buena idea es pedirle ayuda a alguien con experiencia en esta área. De este modo puedes ver físicamente lo que ellos hacen y aprender ahí, directamente.
Espero que eso haya ayudado. ¡Feliz ecualización!
Great suggestions there Cleto. I guess I’m a bit late but Some of the other things that could be considered in future are MOOG Multi pedals http://www.sweetwater.com/store/detail/MP201/ or a fancy Volume pedal from visual sound http://www.sweetwater.com/store/detail/VisualVolume/. there are even some guitar pedals from BOSS that work for keyboard players such as the OD -20 which is distortion pedal which could work with ORGANS or WURLIS or even the DD -20’s for instant delay control with a pedal switch for live scenarios.
There are also a wide arrange pedals available from MOOG http://www.turramusic.com.au/Pages/CategoryList.aspx?CAT2ID=133 .
Well these are some of my suggestions. hope that wasn’t too long..
In reference to:
Cleito said: 10 Dec 2009
“Sometimes is hard to get a similar sound from the stage monitors or from the front like the sound from the headphones. A good thing to have next to you is a little mixer with 4 channels (more if you have more keys) with 4 band EQ. This way you can adjust the EQ separately for each keyboard. Is there a different hardware that works better than a little mixer for this purpose?”
Sounds to me like you’re after a little more than EQ’s. Being a keys player myself I can relate to what you’re talking about.
Using EQ’s will do some good but could still leave you unsatisfied cuz it may not capture that rich tone your keyboard may produce. What the tone really needs to go through is possibly a Compressor/ Limiter, Maximiser and then an EQ. If you were to get all of the above one by one, that is most likely to put a hole in your pocket unless you’re absolutely serious about it and want to spend that kind of money.
What I would do is get an AUDIO INTERFACE card from one of the good brands like RME, APOGEE etc and use a DAW (eg. LOGIC)with thridparty plugins such as UAD, WAVES.
There is a SOLO laptop card which becomes the brain processor so there is no latency involved….. WAY TOO MUCH WORK…??? I KNOW…. but this will most certainly make your keyboard sound better than what you want it to sound…
Alternatively…. a digital mixer would do the job such as the YAMAHA O1V96 VCM - onboard effects, eq, comps limiters etc etc.. It works to be about $2300 USD.. but also works as a mixer/monitor control etc etc.. good value for money..
Sorry if that is too much info…
First off, u guys r amazing!! Ur music is so annointed and powerful. Which shows ur hearts. It shows that ur doin it for the rite reason. I was wondering if u could make a post kinda explaining and showing how u determine what sounds u use for which song. And also how u come up with such amazing pads. I love those!! If that is at all possible that would b a huge help!!! Thank u sooooooo much for all u do. U guys r a huge inspiration!!
Hey Peter
In my church I’m trying to incorporate my laptop’s production software with the keyboard that I already use during worship. I’m using a line-in from keyboard to laptop (not midi chord but if thats the answer then ill make the switch), from laptop to a DI-Box and from the DI-Box to the mixer in the control room. The software I’m using works with an ASIO sound driver and initially the piano output was really harsh but after extensive EQ and lowering the source volume to about 1, it got a bit better but I want it to be crystal clear if possible and I want more volume flexibility. Any ideas?
In reference to:
” I’m using a line-in from keyboard to laptop (not midi chord but if thats the answer then ill make the switch), from laptop to a DI-Box and from the DI-Box to the mixer in the control room.”
Out of curiosity how do you trigger the sounds on your laptop by using a line-in from the keyboard..??
To Nitin:
Using a 1/8″ stereo adapter, I connect a stereo plug from the keyboard to the laptop’s microphone slot and on the laptop I select the microphone signal in a channel on a mixer in my production program where I can do whatever I want in terms of effects to the sound. Then again, with a 1/8″ stereo adapter, I connect a separate stereo plug from the laptop to the DI-Box. And then the connection from the DI-Box goes to the control room mixer.
Daniel, you are driving a Microphone level input with a line level signal. It’s never going to sound very clean that way. Also laptop soundcards tend to be poor quality. You should get a USB audio interface and run the audio in and out of that.
To Daniel:
Cool. However the lineout signal from your keyboard will not match the MIC input in your laptop and you may not have much control on your end in regards to volume.
The best way(only)to trigger sounds in your laptop will be via midi. There are two things which you will have to keep in mind.
Latency & Quality of Sound.
These are two problems which are more likely to occur when you use multi-layered patches given that the computer could be a laptop. Secondly the computer’s “core audio” (soundcard) is not designed for such purposes so I would highly recommend a FIREWIRE AUDIO INTERFACE where you get to have absolute control. What would be even better is the MIDI and AUDIO INTERFACE combined into one which saves the hassle from drivers and software integration. I hope that answers your question.
Cheers
Hey Wash and Anj,
Yeah the Pad we use from the Korg M3 is called ‘Warm Pad’ from memory. We also use a sound called ‘Analog Velvet’ a lot and that’s found on a lot of Korg keyboards like the LE’s.
To Ben and Nitin,
Thanks so much! That answers everything I was wondering. Ill make sure switch to the MIDI interface and definitely look into Firewire too.
Just out of curiosity, what is our keyboard setup like. How do u hook up your guys laptops to your keyboards.
Manuel - You can hook up a lot of new keyboards from the usb out of the keyboard to the usb in of your computer. Other older keyboards that don’t have usb out require a midi to usb cable adaptor. Which are pretty cheap. Or an interface that has midi in on it. There’s a bunch of options out there.
what do you call those, you use for the beats?.. have no idea,
by the way thanks to this..
Hey i think it would be awesome if you did a post on what gear you guys use.
Good idea… the next article I post I’ll list all the gear I use at church/touring etc