Learning to EQ and reading the (*) manual

[hags2k]

To begin with, I must express my appreciation not just for Carvin gear, so wonderful and low priced it's scary, but also for the manual authors at Carvin. Let me explain.

 

Now, I love manuals. I love to read them. It's one of the best parts of getting a new piece of gear, to me. And, when I've read a manual once, I reread it several times, because there is usually something that I have missed or wasn't looking for the last time I read the manual. Even the schematics can be fun and interesting, though I'm not anywhere proficient enough to follow them with any reasonable degree of accuracy, I can at least identify the components and more or less what most of them do. Anyway, many manuals I've read leave a lot to be desired. However, my Carvin PB-300 manual is just wonderful. I've read it 4 or 5 times now, and each time I've found something new and helpful. Each time that happens, it's like getting a new feature on my amp. Not only are they well written and thorough, though, they have some of the best suggestions for LEARNING what the equipment does and how to experiment to learn even more.

 

The latest aspect of this particular manual to get me excited was the nice section on using the eq, especially the parametric mid control. To be honest, I'd only touched it once or twice, but after reviewing the manual's suggestions yet again, I've found new usefulness in the EQ, and for the first time, I think, I finally understand that EQ is not nearly as intuitive as it first appears. Of course, I had HEARD that when you want to emphasize a certain frequency, you have to take emphasize away from another. It's a balancing act. Therefore often it can be more effective to cut certain frequencies to emphasize others, rather than just boost the crap out of the frequencies you want emphasized. But, I'd never tried to put that into practice, beyond using the mid-scoop button on my other amp.

 

So, after playing around with the mid control on the PB-300 with a new perspective, I quickly identified the "harsh" sounds that I found unpleasant and with some very mild cutting had found a sweet tone I had never heard before, and is the closest thing I've yet heard to my "ideal" tone, whatever that may be. Precise and subtle adjustments can have a much bigger impact than I had ever before thought.

 

I swear, learning how to use the amps takes almost as long to figure out as playing the friggin instrument. No wonder people really appreciate plug and play amps

 

So, are there any other companies out there producing such fun-to-read and helpful manuals? Has anyone else had a similar experience, with manuals, eq, or similar discovery and experimentation? Please share.

[getz out]

I read manuals. I like manuals.

 

EQ is not intuitive. It is also so often misused. Many controls are used like on/off switches.

 

Eden's manuals are miserable. Demeter is not so hot, either.

 

Carvin's manuals seem to be useful. Peavey's are good. SWR is pretty good with manuals. Acme has good manuals. Yorkville/Traynor does a good manual as well.

[alexclaber]

Originally posted by getz76:

Acme has good manuals.

And there's only two knobs to twiddle as well! The manual for my SWR Grand Prix is well written, as was the manual for my Mackie M1400, as is the manual for my QSC PLX 3002. Almost all my effects pedals have really poor manuals, though Line6's are good.

 

Eden's manuals are absolutely shocking - they're not even up to date and contain discrepancies with their website (which is correct).

 

Alex

[JazzCat]

I'm on the other end of the spectrum. I hate reading manuals. I like good tone and have always been able to dial it. I'd rather be reading porn with that spare time!!!!

[73 P Bass]

The manual for my old SWR Redhead was both useful, and humorous.

[_Sweet Willie_]

Originally posted by 73 P Bass:

The manual for my old SWR Redhead was both useful, and humorous.

The manual for my SWR Super Redhead was excellent. It was also great to be able to download it from the SWR website since I bought the amp used.

[g.]

Any manual that has the schtuff in it is good; any manual that makes it easy to read and find the schtuff is better; any manual that teaches what the schtuff means - well, that's GOLD.

 

There are some lame manuals out there. Eden's definitely make it into the worst of the lame list. Some of the manuals from non-english countries have had some pretty scary translations, and often are WRONG in places too. Frustrating manuals fail to put gear into a larger context, sometimes because of missing info, sometimes because of crap organization and indexing and layout.

 

Using manuals is an awful lot like getting methods or lessons - only they're meant for the other gear besides the hands and the ears. One may not always enjoy them, but It Makes A Difference. At some point the people who read them usually know how to determine what cabs will work with a head and which combinations will make the bad smoke ; }

 

Beyond that, the best manuals can open the door to more than the battery compartment... they can lead to a world of other fascinating musicial knowledge. Glad to see someone is aware of that. Some companies must be doing something right.

[haggard]

Well, you inspired me to download the user's manual for my Gallien Kruger (I lost it) and to check it carefully. It may bring something good, surely. Mostly because I just got a compressor/limiter and I want to find out how to combine them.

[BenLoy]

Line6's manuals are hilarious. Whoever their technical writing manager is, they're one funny person.

[dcr]

I've got $5 that says I can make an entire stadium full of keyboard players shudder, with just two words:

 

Roland manuals.

[No, I Wont Just Play Root]

Originally posted by BenLoy:

Line6's manuals are hilarious. Whoever their technical writing manager is, they're one funny person.

lol: the don't they call them "Pilots Guides"???

 

[Tom Capasso]

I also read manuals (though I haven't bought any gear that has one lately).

 

The funniest "manual" I ever saw was the instructions on the box of my Nelson Oscillating Sprinkler. It's too long ago to quote, but I was on the floor with the things they said. The new ones aren't as good, but check them out next time you are in a store.

 

Tom

[rumpelstiltskin.]

hags -- i scoured the manual for the published weight when i was trying to convince you buy it. even then i had found new things of which i was unaware. i really liked that manual. it's the best i've ever owned.

 

i have enjoyed the manuals for my boss effects pedals, and the tech21nyc XXL manual was rather helpful, too.

 

congratulations on your new, tonal epiphany!

 

robb.

[Nicklab]

I tend not to read too many of the manuals. Having been pretty well indoctrinated to "tech-speak" since the 80's, it's pretty easy for me to get around the manuals.

 

As for EQ, I try not to overuse it or get into set patterns. I start off with the EQ on any amp set flat. Just listen to how your bass sounds through the amp without EQing it at all. You'll be surprised just how much you can vary your tone just from the controls on your instrument.

 

After I've got something decent from the instrument's tone controls, then I go to the amp. With graphic EQ's, I seriously try to avoid that scooped midrange appearance. You know, that big V that so many people seem to set their graphic EQ in? Add EQ sparingly to the places that need it. You'll be very surprised what +/- 3 dB of EQ at 100 Hz will do. Most EQ pots have about a + or - 15 dB range, so the equalizers on almost everyone's amps are pretty powerful.

 

And, don't be afraid to cut a frequency, either. Parametric EQ's are really good at that. If you've got a really annoying buzz in your high's, crank the gain up on your high's and slowly cycle the parametric EQ pot up through those frequencies. At some point, the buzz will get really loud. When you've got it at it's loudest, then cut that frequency back until the buzz subsides. That technique is known as "notching" the frequency, and it can be a big help at times.

[hags2k]

Originally posted by robb.:

hags -- i scoured the manual for the published weight when i was trying to convince you buy it. even then i had found new things of which i was unaware. i really liked that manual. it's the best i've ever owned.

 

i have enjoyed the manuals for my boss effects pedals, and the tech21nyc XXL manual was rather helpful, too.

 

congratulations on your new, tonal epiphany!

 

robb.

[hags2k]

Originally posted by Nicklab:

I tend not to read too many of the manuals. Having been pretty well indoctrinated to "tech-speak" since the 80's, it's pretty easy for me to get around the manuals.

 

As for EQ, I try not to overuse it or get into set patterns. I start off with the EQ on any amp set flat. Just listen to how your bass sounds through the amp without EQing it at all. You'll be surprised just how much you can vary your tone just from the controls on your instrument.

 

After I've got something decent from the instrument's tone controls, then I go to the amp. With graphic EQ's, I seriously try to avoid that scooped midrange appearance. You know, that big V that so many people seem to set their graphic EQ in? Add EQ sparingly to the places that need it. You'll be very surprised what +/- 3 dB of EQ at 100 Hz will do. Most EQ pots have about a + or - 15 dB range, so the equalizers on almost everyone's amps are pretty powerful.

 

And, don't be afraid to cut a frequency, either. Parametric EQ's are really good at that. If you've got a really annoying buzz in your high's, crank the gain up on your high's and slowly cycle the parametric EQ pot up through those frequencies. At some point, the buzz will get really loud. When you've got it at it's loudest, then cut that frequency back until the buzz subsides. That technique is known as "notching" the frequency, and it can be a big help at times.

Ah, yes, that scooped sound isn't usually that great, and every EQ is different (the numbers on the bottom is a good first clue), yet some people think that they can just dial it in the same way every single time. As far as a slight cut... that's all I even like to do. Boosting just seems to cause lots of problems, and as I've recently discovered, there really is usually only one small area of the frequency spectrum bothering me. I set my parametric mid to around 700 to 900 Hz and a very slight cut, and viola! Problem solved. The other frequencies are emphasized, and my sound is 100% better.

[hags2k]

One more thing...

 

It seems to me, as well, that if there is a need for anything more than slight tone shaping on the amp, then there are bigger problems. Perhaps the tone of the amp just isn't what you're looking for. Perhaps your speakers are requiring too much compensation just to sound like you want. Or, even more likely in my case, you should really check out your instrument and the one playing it. I like the tone to come from my fingers and my bass, and only have to make some slight modifications on my amp to help bring everything into harmony.

 

At least, that's what I like for straightforward, CLEAN sounds. After that, well...I'm not sure how to get overdrive, chorus, or an envelope filter with my fingers (lord knows I've tried!), or with my onboard passive tone control.

[rumpelstiltskin.]

you are correct, sir! too bad the explanation for GAS isn't as highly regarded as the cure for cancer, or you'd be famous.

 

robb.

[Max Valentino]

Very good point about EQ! As a teacher, one thing I really emphasize in my students (in addition to learning notes, scales, arpeggios, rhythmic concepts, placement of the beat etc. etc.) is a thorough understanding of how their gear works. Far too often I students, some being quite experienced players, complain of lousy tone, no control of their tone (excessive harshness and/or boominess) and symptoms of a drastic lack of headroom in their amps.

 

In short, EQ works better as cuts than it does as boosts. I try to explain to students that the eq controls on both their basses and amps are like frequency-specific gain controls. Diming out the tone controls on an active bass, and then boosting the lows and highs on an amp (and usually putting those nasty, extreme cuts in the mids...which, btw, are freqs which are so very important to having clarity and definition to your tone) causes the amp to loose whatever headroom it might have had available to produce optimum tone at desired levels.

Pumping up eq not only produces a lot of gain at those specified freqs. but also boosts the inherent noise found at those centers of the audio spectrum.

 

It is a much more efficient practice to cut treble or high mids to produce more "boom" and vice versa for more "edge". This also allows you to produce a really good tone with more power from the amplifier. But, remember very slight cuts can produce incredibly dramatic results. Just because you have 12-15dB of boost/cut does not mean you have to use it!

 

Think of how a good audio engineer will run a channel strip in a recording session. Rarely will you ever see the eq dials spun radically clockwise! This might get done for a specialized effect (lo-fi harshness with lotsa noise!), or because there is something terribly wrong with the signal chain, in which case a good engineer will most likely scrap the whole setup and suggest going with a new amp/DI/mic/bass etc.

 

If their are a lot of "ugly" tones (and ugly is a rather subjective word...what might sound ugly solo'd often sounds great in a mix), then there might be "bigger" problems in your setup. Cheap active pickups, though offering tons of boost/cut, usually have rather crappy circuits in regards to eq. Same with amps. Try setting your bass and amp flat, then boost the mids, and if there is a semi-parametric find the ugly, honking nasal tones by spinning thru the freqs. Apply some slight cut there. Then, dial in "your" tone by cutting highs for more bottom and cutting lows and low mids (very slightly) to emphasize more clarity and "zing".

 

If in doing this you still don't have the wallop needed for your music.....try a bigger power amp or more drivers.

 

In regards to fx from fingers...... a slight phasing sound can be obtained by fingding spots along the speaking length of the string where the PU's mag field seem to "pass" each other. Using differtng techniques with your right hand (finger pads to finger tips and nails) you can get a slight "phasing" sound. For chorus, using a very controlled amount of finger vibrato, or bending strings in opposite directions works well...and on fretless simply playing very slightly out of tune and "rolling" into the notes produces a nice detuned chorus effect. Overdrive CAN be obtained by using hard finger placks up near the bass of the neck, a'la Marcus Miller and Stanley Clarke, although this is a very subtle kind of grind. I have produced a semi-envelope type effect on my fretless by moving my right hand position rapidly from up by the neck to back by the bridge, playing thru that entire length. Not easy, but it can be done.

 

Max

[hags2k]

Originally posted by Max Valentino:

Very good point about EQ! As a teacher, one thing I really emphasize in my students (in addition to learning notes, scales, arpeggios, rhythmic concepts, placement of the beat etc. etc.) is a thorough understanding of how their gear works. Far too often I students, some being quite experienced players, complain of lousy tone, no control of their tone (excessive harshness and/or boominess) and symptoms of a drastic lack of headroom in their amps.

 

In short, EQ works better as cuts than it does as boosts. I try to explain to students that the eq controls on both their basses and amps are like frequency-specific gain controls. Diming out the tone controls on an active bass, and then boosting the lows and highs on an amp (and usually putting those nasty, extreme cuts in the mids...which, btw, are freqs which are so very important to having clarity and definition to your tone) causes the amp to loose whatever headroom it might have had available to produce optimum tone at desired levels.

Pumping up eq not only produces a lot of gain at those specified freqs. but also boosts the inherent noise found at those centers of the audio spectrum.

 

It is a much more efficient practice to cut treble or high mids to produce more "boom" and vice versa for more "edge". This also allows you to produce a really good tone with more power from the amplifier. But, remember very slight cuts can produce incredibly dramatic results. Just because you have 12-15dB of boost/cut does not mean you have to use it!

 

Think of how a good audio engineer will run a channel strip in a recording session. Rarely will you ever see the eq dials spun radically clockwise! This might get done for a specialized effect (lo-fi harshness with lotsa noise!), or because there is something terribly wrong with the signal chain, in which case a good engineer will most likely scrap the whole setup and suggest going with a new amp/DI/mic/bass etc.

 

If their are a lot of "ugly" tones (and ugly is a rather subjective word...what might sound ugly solo'd often sounds great in a mix), then there might be "bigger" problems in your setup. Cheap active pickups, though offering tons of boost/cut, usually have rather crappy circuits in regards to eq. Same with amps. Try setting your bass and amp flat, then boost the mids, and if there is a semi-parametric find the ugly, honking nasal tones by spinning thru the freqs. Apply some slight cut there. Then, dial in "your" tone by cutting highs for more bottom and cutting lows and low mids (very slightly) to emphasize more clarity and "zing".

 

If in doing this you still don't have the wallop needed for your music.....try a bigger power amp or more drivers.

 

In regards to fx from fingers...... a slight phasing sound can be obtained by fingding spots along the speaking length of the string where the PU's mag field seem to "pass" each other. Using differtng techniques with your right hand (finger pads to finger tips and nails) you can get a slight "phasing" sound. For chorus, using a very controlled amount of finger vibrato, or bending strings in opposite directions works well...and on fretless simply playing very slightly out of tune and "rolling" into the notes produces a nice detuned chorus effect. Overdrive CAN be obtained by using hard finger placks up near the bass of the neck, a'la Marcus Miller and Stanley Clarke, although this is a very subtle kind of grind. I have produced a semi-envelope type effect on my fretless by moving my right hand position rapidly from up by the neck to back by the bridge, playing thru that entire length. Not easy, but it can be done.

 

Max

Very good points about EQing, and pretty much in line with what I'm now learning/figuring out. I never before realized how much impact a ver slight cut could have on the sound. Nasal mids, begone!

 

As for the last part...wow, way to bring out the big guns. You called me out and I didn't even realize I was bluffing! I am now going to have to spend way too much time during my next several practice sessions trying to find that "phasing" point, and contemplating a fretless more than before...

 

And I thought this thread was ALLEVIATING my gas, but then you walk in and...ugh. Perhaps it's just inevitable.

 

Thanks for some great info!

[g.]

Don't get TOO carried away by the "EQ cutting" philosophy. Just learn the lessons. TOO much cutting can throw away a good signal-to-noise ratio and cause some phase shift problems that a balanced approach will somewhat negate.

 

There is still a reason to use boosting. Just show some balance and moderation, which one finds while keeping the ears engaged, and which actually further trains the ears.

 

In keeping with the theme of this topic, it's not just about reading manuals. It's about reading good info with research and experience behind it, and putting it all into perspective and practice. On the internet, use GOOGLE to find the places and people that are, in the words of Ulysses Everett McGill's wife, "bona fide".

 

EDIT: Max V is definitely "bona fide" - don't read anything different into what I said. He's one of the most "bona fide" people here ; }

[alexclaber]

Originally posted by   :

On the internet, use GOOGLE to find the places and people that are, in the words of Ulysses Everett McGill's wife, "bona fide".

O Brother, a fine point indeed!

 

Alex

[jeremy c]

I like your sig, GB, since I grew up outside Providence. The water tower in the movie where they hung out doesn't exist.

[g.]

Hey J,

 

A movie I warched last night was shot in FIVE different locations. I couldn't see any reasons why either - 2 locations could have handled it easily, and one location could have if pushed.

 

Must have been decision by committee ; }

 

Check out the QUEST FOR FIRE DVD if you want some extreme uses of location! Great movie, great DVD extras! In this case using far-flung locations as justifiable though ... But the actors maybe suffered a little more than warranted ; } - that TOO is an incredible story!