Audio Engineer training?

Personally, I never used them; I found that just working within the environment on a day to day basis resulted in the same type of training over time, but that's just me.

Please don't misconstrue my reluctance above as advice. I respect any cat who wants to further their knowledge or chops, however or whatever method they choose.

I believe the series/course you are thinking of is as follows:

http://www.moultonlabs.com/gold.htm

Good luck

Hope this helps.

Donny

Thanks guys. Golden Ears sounds familiar and must be what I was remembering. Good alternate training ideas as well. This would be also for someone else who has WAY less experience.

Tim

I know you want more than EQ, so taking acourse is good-if there are any more experienced engineers in your area that wouldn't mind you sitting in and going out for coffee that is a great learning experience-better than books. But since you did specifically ask for eq here is a rundown.



The first usable octave for most recording is the 40 - 80 Hz range, with equalization settings centered around 50 Hz. This range of frequencies is often referred to as "Low Bass"
There is sound between 20 Hz and 40 Hz but little or no sound from instruments. The lowest pipes of a pipe organ will get into this range but more "ordinary" instruments like Bass Guitar, Upright Bass and Foot Drums do not. The lowest pitch on a bass guitar or string bass is at 41 Hz. Thunder, earthquakes and rumble from the building shaking extend below 40 Hz. While mixing, watch out for objectionable sounds below 40 Hz caused by building shifts and mic stands moving with heavy footsteps. If there is objectionable sounds in this range, the range can usually be taken entirely out with a filter.
The first octave that we deal with (40 - 80Hz) gives more of a "feeling" and sense of "power" to the sound. This range is way down or non-existent in smaller stereo systems. This range is difficult to hear at all at medium and low volume levels because of the Fletcher Munson Effect.
To properly set the amount of low bass in your mix or in your instrument sound, you must listen both loud and soft. You also may want to listen to the mix or instrument on large and small speaker systems. Too much energy in this range will make the mix sound muddy on large speakers played loud and still sound good on small speakers played at a medium volume. You want the mix or instrument to sound larger and more powerful over large speakers without sounding muddy.
Rap, Hip Hop and "Dance" music (under various names) often have extra energy in the low-bass range. This is what causes cars equipped with sub-woofers to shake. Usually, however, it is not the entire mix that is boosted below 80 Hz, but just, for example, the foot drum. By boosting the energy on only one or two instruments, "clarity" can be achieved without "mud."


The Bass Range


Covering about 1.5 octaves, from 80 Hz to 250 Hz, this range of frequencies determines the "fatness" and "fullness" of the instrument's sound. Equalization is usually applied centered around two frequencies, 100 Hz and 200 Hz.
For guitars and bass, the 100 Hz range tends to add body and fullness. Excessive energy in this range tends to make these instruments sound "boomy.," This range of frequencies is still greatly affected by the Fletcher-Muson Effect; this means you will need to listen to the mix and instrument both loud and soft. Similar to how the 50 Hz range affects the bass and foot, the guitars should sound fatter when played loud, not boomy. Reducing the 100 Hz energy on the guitar will usually cause distinction between the bass and guitar parts. The lowest fundamental frequency on a guitar is around 80 Hz.
For vocals the 200 Hz range determines the fullness of the vocal. This range can often be reduced to increase distinction on the vocal. If, however, boosting in higher frequencies on the vocal makes the sound "thin" or "small" a boost of 200 Hz. will restore fullness.
When 100 Hz is reduced on a guitar or bass to reduce "boom," at small boost at 200 Hz can be helpful to keep the instrument from sounding "lumpy" (certain notes hard to hear and others standing out). The guitar and bass have almost equal energy at their fundamental and 2nd harmonic frequencies. Thus if a range of notes becomes hard to hear because of a at lot of 100 Hz, reducing energy at 100Hz and adding energy at 200 Hz will help the notes be heard again.


The Bass Presence / Lower Mid Range


Covering about one octaves from 250 Hz to 500 Hz, this range accents ambience of studio and adds clarity to the bass and lower-string instruments (Chello and Upright Bass). Too much boost can make higher-frequency instruments muffled sounding and low-frequency drums (foot and toms) have a cardboard box quality. Equalization in this range is applied at many frequencies but most often between 300 Hz and 400 Hz.

The lower part of this range (250 Hz to 350 Hz) is sometimes referred to as "Upper Bass" and is used to increase distinction and fullness on the vocal, especially on female singers.

The Lower Mid Range in general can be viewed as the "Bass Presence Range" Increasing this range gives clarity to the bass line and the lower-register of pianos and organs. Clarity and distinction can be obtained between the foot drum and bass guitar by both reducing the foot and increasing the bass guitar in this range, at the same frequency.

This range is often reduced for overhead drum and cymbal microphones to increase clarity and presence on these instruments' and reduced on lower drums (foot and toms) to reduce boxiness.



The Mid Range


The Mid Range band of frequencies covers two octaves from 500 Hz to 2 kHz. This range can give a horn-like quality to instruments (500 Hz to 1 kHz) and a "tinny" sound (1 kHz to 2 kHz) or a telephone-like quality (all of the range). Equalization usually centers around 800 Hz and 1,.5 kHz.

The mid-range also tends to accent the presence (800 Hz) and attack (1.5 kHz) of the bass guitar. The lower pitches of a rhythm guitar can be given more attack by a boost at 1.5 kHz.

For your Mid Range Instruments (vocals, guitars and piano) this range is most-often reduced rather than accented. Reducing 500 - 800 Hz on an acoustic guitar can remove the "cheep" sound and make it sound more "silvery." Reducing 800 Hz on a vocal makes it sound less nasal and have more body and presence. For snare drums, a reduction of 800 Hz can take the tinny, cheep sound out of the drum and make the snares have more sizzle rather than rattle.



The Upper Mid Range


Covering about one octave, this range of frequencies is responsible for the attack on percussive and rhythm instruments and the "projection" of mid range instruments. Equalization can be applied at any frequency in this range but still somewhat centers around 3 kHz.
On the foot drum, boosting 2.5 kHz or 4 kHz increases the attack. 2.5 kHz sounds more like a felt beater and 4 kHz sounds more like a hard-wood beater. These frequencies can also be used to increase the attack or "hit" sound on toms and snare drums.
Guitar lines often get more attack and distinction with equalization added at this range. A small boost (1-3 dB) for the vocal will increase projection. Adding too much energy, in this range, makes it hard to distinguish the syllables of the vocal and can cause listening fatigue. This range of frequencies is often reduced on background vocal to give them a more "airy" and "transparent" sound.


The Presence Range


Although this range covers a mere half-octave of 4 kHz to 6 kHz, it is an often-used band of frequencies. This range makes most vocals and melody instruments sound closer and more distinct. Over-boosting causes a irritating and harsh sound. Equalization centers around 5 kHz.
The Treble Range


Covering approximately that last two octaves of sound (6 kHz to 20 kHz), this band of frequencies is responsible for the brilliance and clarity on instruments. Equalization centers around 7 kHz, 10 kHz and 15 kHz.
The vocal "S" sounds are at about 7 kHz, making this a frequency that is avoided for vocals. Care must be exercised in reducing 7 kHz on vocals, however, because the vocal will sound dull very fast. The breath sound of the vocal is at 15 kHz and above, giving a breath quality without much accent on the "S": sound of the vocal.
The 7 kHz frequency is also the "metallic attack" frequency on drums The "sizzle" of cymbals is at 15 kHz.
When equalizing, 10 kHz and above is often used as a general "brilliance" frequency band.

Hope that helps.

Michael

Did you write it... or paste it... ?

doesn't matter to me... it's still another one of those "gold" posts that should reside in one of those "go to" folders we've discussed.

Thanks Michael... good post.

D.

Knowledge is good, but wisdom is how to apply the knowledge. Experience is often the hardest but best teacher. Nothing like sending your mix out to a group of 5 professionals to show you how much you have to learn. And it's not always about skill. Sometimes others can just see things better than you because they are not so close to the project.

Well put, Michael! I could not have said it any better.

Michael,

Thank you for such a marvellously informative post. The way that you, Chaz, Donny Air, nprime and many others share knowledge around these parts is a treat and service for us all. Thanks!

ben

Great summary Michael. I printed it out so I could refer to it later. I find that reviewing things like this while doing rough mixes helps me listen deeper.

Timecho, you might also want to check out Wayne Wadham's book and companion CD, "Sound Advice: The Musicians Guide to the Recording Studio." It really doesn't have any exercises, but it's a great reference when I can't quite remember what he taught us in class. I'm not sure if the book is still in print, but the CD is available on Amazon. Actually if you got both the Moulton CD and this Wadhams CD, you'd have a good overview of what is taught in at least two courses in the Berklee MP&E program, or at least as it was taught 15 years ago.

Ya, it's you guy's(you know who you are) that make these forums.
Your willingness to share knowledge give of your time and doing so with tact and without belittling.
All of you are a credit to your profesion, and people in general
hats off
joe

Michael, Michael, Michael you are the person

I'm gonna print it.