SOUND ENGINEERS SURVIVAL GUIDE

assembled by Didjo

CONTENTS
Main Frequency Regions
Extreme Low Low Lower Midrange Upper Midrange Presence High

Speech & Musical Voice

Vowels' Formant Chart Frequency Regions

Instruments Tuner
Trebble Instruments Drums Electric Bass Acoustic Guitar Piano Violin Sax Viola Cello Clarinet Flute Oboe Horns Double Bass Electric Guitar Bass Instruments

Trumpet

Sound Processing
Compressor Setting Tips Reverb Setting Tips

Judging Your Mix

Judging Your Mix

Sound Speaking
Sound Speaking

Bibliography

Bibliography

MAIN FREQUENCY REGIONS

Extreme Low 20 Hz to 60 Hz
This frq range is more felt than heard Excessive boosting results in a very MUDDY sound

Low 60 Hz to 250 Hz
This frq range contains most of the fundamental tones The very low-end, 100 Hz and lower, is warm Boominess occurs around 200 Hz Excessive boosting results in a very BOOMY sound Excessive cutting results in a very THIN sound

Lower Midrange 250 Hz to 2500 Hz

Very important frq range because all sound systems can reproduce it The low-mid range, around 250-1000 Hz, adds depth and body Excessive boosting results in a very TELEPHONE-LIKE sound Excessive boosting between 1-2 kHz results in a very HORN-LIKE sound

Upper Midrange 2500 Hz to 5000 Hz

Very important frq range for acoustic instruments and voice The range between 2-4 kHz may provide presence and bring a sound out of the mix Boosting around 3 kHz adds CLARITY without increasing the overall level

Excessive boosting results in a very THIN and DISTANT sound

Presence 5000 Hz to 7000 Hz

Boosting this frq range makes the sound THIN and HARSH Cutting a few dB in this frq range gives an instrument a WARMER sound

High 7000 Hz to 20000 Hz

Boosting this frq range adds CLARITY and TRASPARENCY to acoustic instruments Boosting a few dB at around 12 kHz CLEAN UP cymbals and vocal Cutting in this range makes the sound COMPRESSED and UNCLEAR
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SPEECH & MUSICAL VOICE

Vowels' Formants Chart (Hz)

Formant Men F1 heed head had hod haw'd who'd 270 530 660 730 570 300 870

F2 2290 1840 1720 1090 840

F3 3010 2480 2410 2440 2410 2240

Women F1

310 610

860

850 590 370 950

F2 2790 2330 2050 1220 920

F3 3310 2990 2850 2810 2710 2670

Frequency Regions
60 Hz up to 500 Hz ---> 60% Power ---> 5% Intelligibility

500 Hz up to 1000 Hz ---> 35% Power ---> 35% Intelligibility 1000 Hz up to 8000 Hz ---> 5% Power ---> 60% Intelligibility

Equalization in Practise Range 80---120 Hz boost can add DEPTH and FULLNESS

Range 120---160 Hz boost can cause a voice to sound BOOMY or CHESTY Range 160---250 Hz boost can make it sound MUDDY or MUFFLED Range 250---300 Hz boost can add WARMTH Range 300---600 Hz cut can make a voice BOXY or HOLLOW Range 600--1000 Hz cut can produce HARDNESS Range 1000--2500 Hz boost can make a voice NASAL or METALLIC Range 2500--3500 Hz a few dB boost helps vocal PRESENCE Range 3500--6000 Hz boost can improve vocal CLARITY and INTENSITY Range 6000-12000 Hz boost can add BREATHINESS or SIBILANCE
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INSTRUMENTS TUNER

TREBLE INSTRUMENTS
Equalization in Practise Range 100---200 Hz boost adds DEPTH or, to the extreme BOOMY Range 200---300 Hz boost adds BODY or WARMTH Range 400---800 Hz boost can produce HOLLOW or HORN-LIKE sound Range 800--3000 Hz boost adds CLARITY Range 800--3000 Hz cut reduces HARDNESS Range 4000--6000 Hz boost adds PRESENCE and BRIGHTNESS Range 4000--6000 Hz cut reduces BRASHNESS

Range 6000-12000 Hz boost adds AIR or SPARKLE

BASS INSTRUMENTS
Equalization in Practise Range Range 50---200 Hz boost adds DEPTH 80---500 Hz boost can produce BOOMY sound

Range 500---800 Hz boost adds SOLIDNESS Range 800--3000 Hz boost adds CLARITY Range 1600--4000 Hz boost adds SNAP Range 4000--6000 Hz boost adds BITE and STRING noise Range 6000-12000 Hz boost can provides METALLIC sound
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DRUMS Bass Drum

Fundamentals: 30 - 147 Hz Overtones: 1 - 6 kHz EQ Reference: Body 120 Hz - Box Sound 400 Hz - Slap Attack 2.5 kHz

Equalization in Practise Range Range 50----80 Hz boost adds DEPTH or THUMP 80---160 Hz boost adds BODY or BOOM

Range 200---250 Hz boost adds FULLNESS Range 250---400 Hz cut improves the CLARITY Range 400---650 Hz cut provides a more OPEN sound Range 800--1000 Hz boost SOLIDNESS or THOCK

Range 1000--4000 Hz boost brings out the BEATER Range 4000--5000 Hz boost adds the CLICK attack Range 5000-10000 Hz boost brings out the attack TRANSIENTS

Snare Drum
Fundamentals: 100 - 200 Hz Overtones: 1 - 20 kHz EQ Reference: Body 120 Hz and 240 Hz - Hollow sound 400 Hz - Snap around 4.5 kHz

Equalization in Practise Range 60---125 Hz cut reduces excessive THUMP Range 100---125 Hz boost adds FULLNESS Range 125---250 Hz boost adds WARMTH Range 250---400 Hz boost adds POP in a well muted drum Range 400--1000 Hz cut provides a more OPEN sound Range 1000--3000 Hz boost adds BANG Range 3000--6000 Hz boost adds SNAP or BITE Range 6000-10000 Hz boost brings out the SNARE-SPRING sound

Using Top & Bottom Mics

Top Mic Range 800--1000 Hz cut a few dB Range 1200--1500 Hz boost slightly Range 9000-10000 Hz cut a few dB Bottom Mic Range 60---250 Hz cut a few dB Range 350---450 Hz cut a few dB Range 750---850 Hz cut a few dB Range 3500--4000 Hz cut slightly

Range 6000-10000 Hz boost a few dB

Toms
Fundamentals: 100 - 200 Hz Overtones: 1 - 20 kHz EQ Reference: Fullness 120 Hz and 240 Hz - Attack around 4.5 kHz

Equalization in Practise Range 100---300 Hz boost adds DEPTH and FULLNESS (depending on size) Range 400---800 Hz cut brings out DEPTH and BITE Range 300---800 Hz boost adds RINGS in a drum left open Range 600--1600 Hz boost adds SOLIDNESS Range 1600--5000 Hz boost provides more ATTACK Range 5000--8000 Hz boost improves PRESENCE

Hi-Hats
Fundamentals: 200 - 600 Hz Overtones: 1 - 15 kHz EQ Reference: Clank around 200 Hz - Air 10 kHz

Equalization in Practise Range 60---150 Hz bass roll-off CLEAN UP the sound Range 300---600 Hz boost brings out a GONG like sound Range 7000-10000 Hz boost adds SHEEN

Cymbals
Fundamentals: 300 - 587 Hz Overtones: 1 - 15 kHz

EQ Reference: Bell 220 Hz - Clarity 7.5 kHz - Air 10 kHz

Equalization in Practise Range 800--3000 Hz cut reduces BLARY sound Range 2500--5000 Hz cut reduces BRASH sound Range 6000-10000 Hz boost adds SHIMMER
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ELECTRIC BASS
Fundamentals: 41 - 300 Hz Overtones: 1 - 7 kHz EQ Reference: Body 80 Hz - Warmth 300 Hz - String 2.5 kHz

Equalization in Practise Range 80---200 Hz boost adds BODY to a weak bass sound Range 500---700 Hz boost provides a RASPY sound Range 700--1000 Hz boost adds ATTACK and PUNCH Range 4000--5000 Hz cut eliminates the PICK noise
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DOUBLE BASS
Fundamentals: 41 - 294 Hz Overtones: 1 - 5 kHz EQ Reference: Fullness 80 Hz to 100 Hz - Body 200 Hz - String 2.5 kHz
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ACOUSTIC GUITAR
Fundamentals: 82 - 988 Hz Overtones: 1 - 15 kHz EQ Reference: Warmth 240 Hz - Clarity 2 kHz to 5 kHz - Attack 3.5 kHz

Equalization in Practise Range 80---100 Hz cut can help to CLEAN UP the sound Range 100---250 Hz boost adds BODY Range 250--2500 Hz cut improves a BOOMY sound Range 2500--5000 Hz boost adds CLARITY and PUNCH Range 5000--7000 Hz boost adds PRESENCE and PICK noise
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ELECTRIC GUITAR
Fundamentals: 82 - 1319 Hz Overtones: 1 - 15 kHz EQ Reference: Fullness 240 Hz - Warmth 400 Hz - String 2.5 kHz

Equalization in Practise Range 80---125 Hz cut improves a BOOMY sound Range 125---500 Hz boost adds BODY and WARMTH Range 500---800 Hz cut for classic OVERDRIVE guitar Range 2500--4000 Hz boost adds ATTACK for rhythm guitar Range 4000--6000 Hz boost adds PRESENCE and BITE for lead guitar Range 6000-12000 Hz boost provides a BRIGHT sound

Pre-Amp EQ settings tips

Jazz

A neutral sound is needed with no excessive EQ: -3dB at 6 kHz Country A sparkling clean sound is needed: +6dB at 8 kHz / +3dB at 250 Hz Shank Reggae and ska rely on a thin choppy sound: +6dB at 8 kHz / -4dB at 200 Hz Funky Strat This is improved with some compression: -6dB at 700 Hz / +3dB at 150 Hz Classic Motown A valve pre-amp is going to get closer to the sound of the time: -6dB at 700 Hz Classic clean Rockman Use an enhancer to obtain the glassy tones: +6dB at 6 kHz Blues rhythm Set overdrive to 4: +6dB at 1 kHz / +4dB at 250 Hz Melodic Pop rhythm Set overdrive to 4: +4 dB at 250 Hz Heavy Rock rhythm Set overdrive to 8: +4dB at 3 kHz / +3 dB at 100 Hz British Resonant filters can be used: +4dB at 3 kHz / -6dB at 640 Hz and 1.5 kHz / +6dB at 100 and 250 Hz
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PIANO
Fundamentals: 28 - 4196 Hz Overtones: 5 - 8 kHz EQ Reference: Warmth 120 Hz - Clarity 2.5 kHz to 4 kHz - Attack 8 kHz

Equalization in Practise

Range 80---150 Hz boost adds WARMTH Range 250---350 Hz cut reduces a BOOMY sound Range 2000--2500 Hz boost produces a HONKY-TONK sound Range 2500--5000 Hz boost adds CLARITY and PRESENCE
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VIOLIN
Fundamentals: 196 - 3136 Hz Overtones: 4 - 15 kHz EQ Reference: Warmth 240 Hz - String 2.5 kHz - Attack 7-10 kHz

Equalization in Practise Range 200---250 Hz boost adds BODY and FULLNESS Range 1000--3500 Hz cut reduces HARSHNESS Range 7500-10000 Hz cut to get rid of SCRATCH
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VIOLA
Fundamentals: 131 - 1175 Hz Overtones: 2 - 8.5 kHz EQ Reference: Warmth 240 Hz - String 2.5 kHz - Attack 7-10 kHz
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CELLO
Fundamentals: 65 - 698 Hz

Overtones: 1 - 6.5 kHz EQ Reference: Warmth 120 Hz - String 2.5 kHz - Attack 7-10 kHz
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SAX
Fundamentals: Tenor 177 - 725 Hz / Alto 140 - 784 Hz Overtones: 1 - 8 kHz EQ Reference: Warmth 500 Hz - Harsh 3 kHz - Key noise 10 kHz
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TRUMPET
Fundamentals: 165 - 988 Hz Overtones: 1 - 7.5 kHz EQ Reference: Fullness 180 Hz - Bell 5 kHz - Attack 8 kHz
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CLARINET
Fundamentals: 165 - 1568 Hz Overtones: 2 - 10 kHz EQ Reference: Bell 300 Hz - Resonance 2.5 kHz - Air 5 kHz
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FLUTE
Fundamentals: 261 - 2349 Hz

Overtones: 3 - 8 kHz EQ Reference: Warmth 500 Hz - Breath 3.2 kHz - Air 6 kHz
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OBOE
Fundamentals: 261 - 1568 Hz Overtones: 2 - 12 kHz EQ Reference: Body 300 Hz - Resonance 1.2 kHz - Attack 4.5 kHz
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HORNS
Equalization in Practise Range 120---240 Hz boost adds FULLNESS and WARMTH Range 300---400 Hz boost adds BODY Range 1000--3500 Hz cut to get rid of HARSHNESS Range 6000-10000 Hz boost adds ATTACK and PRESENCE
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SOUND PROCESSING

Compressor settings tips

KICK--> Attack 10 ms or longer / Release 175-225 ms / Ratio 4:1 to 8:1 SNARE--> Attack 5-10 ms / Release 150 ms / Ratio 4:1-6:1 TOMS--> Basically, start same as snare ELECTRIC BASS--> Attack 8-20 ms / Release 250-500 ms / Ratio 4:1 to 6:1

DOUBLE BASS--> Attack 50 ms / Release 250-500 ms / Ratio 4:1 to 6:1 ACOUSTIC GUITAR--> Attack 15-25 ms / Release 500 ms / Ratio 4:1 to 8:1 ELECTRIC GUITAR--> Attack 10-50 ms / Release 400-600 ms / Ratio 4:1 to 8:1 VOCALS--> Attack fast as possible / Release 500 ms / Ratio 4:1 to 8:1

Reverb settings tips

DRUMS--> Plate / Rev Time 1-2.5 sec / Predelay 20-25 ms GUITAR--> Small Room or Plate / Rev Time 1-4 sec / Predelay 15-50 ms VOCALS--> Small Hall or Plate / Rev Time 1.5-4 sec / Predelay 20-70 ms VIOLIN--> Small Hall or Plate / Rev Time 1-2.5 sec / Predelay 20-80 ms PIANO--> Large Hall / Rev Time 2-4 sec / Predelay 20-50 ms
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JUDGING YOUR MIX

A good-sounding pop recording might be described as follow: Well-mixed: The loudness of instruments and vocals must be in pleasing balance with each other. The mix must be appropriate for the style of music. The level changes during the mix should be subtle, and should make sense.

Wide range: It means extended low and high frequency response. Wide range sound results from using high-quality mics and adequate EQ.

Tonally balance: The overall balance of the recording should be neither bassy or trebley. Clean: It means free of noise and distorsion. Tape hiss, hum, and distortion are inaudible in good recording. Clean also means "not muddy". Clarity: Instruments do not crowd or mask each other's sound. They are separated and distinct. In addition, a clear recording has adequate reproduction of instrument's harmonics.

Smoothness: Is a lack of sharp peaks or dips in the frequency response, as well as a lack of excessive boost in the midrange. Presence: is the apparent sense of closeness of the instruments. Presence is achieved by close miking, overdubbing, and using microphones with a peak or emphasis around 5 kHz. Spaciousness: When the sound is spaciousor airy, there is a sense of air around the instruments. Without ambience, instruments sound as if they are isolated in stuffed closet. Sharp transients: Tha attack of drums and cymbals should be sharp and clear. Tight bass and drum: The kick drum and bass guitar should "lock" together so that they sound like a single instrument. Wide and detailed stereo image: Tracks should be panned to many points across the stereo stage between the speakers. Wide and controlled dynamic range: A recording with a wide dynamic range becomes noticeably louder and softer, adding excitement to the music. To achieve this don't add to much compression. Interesting sounds: The recorded sound may be too flat or neutral, lacking character or color. Suitable production: The way a recording sounds should imply the same message as the musical style or lyrics.
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SOUND SPEAKING

Airy or Spacious - a pleasant amount of reverb Bassy - emphasized bottom-end below 200 Hz Bloated - excessive mid-bass around 250 Hz Bloom - early reflection or sense of air in an orchestra Boomy - excessive bass around 125 Hz Boxy - excessive emphasis around 250-500 Hz Breathy - audible breath in vocals, flute or sax Bright - emphasized top-end

Brittle - weak fundamentals Chesty - a bump in bottom-end response around 125-250 Hz Clean - free of noise Clear - trasparent Clinical- too clean or not warm Colored - having not flat response Constricted - poor reproduction of dynamics Crisp - referring to cymbals, extended top-end response Crunch - pleasant guitar distortion Dark - opposite of bright Delicate - open sound with strings or acoustic guitar Depth - a sense of closeness and farness of instruments Detailed - sharp transient response Dry - without effects Dull - see Dark Edgy - too much top-end Effortless - low distortion Etched - clear but verging on edgy Fat - warm or full Focused - having a small spatial spread Forward - sounding close to the listener, emphasis around 2-5 kHz Full - strong fundamentals and good bottom-end response Gentle - highs and upper mids are not exaggerated Glassy - a little too bright or trebley Grainy - suffering for harmonic distortion Grungy - lots of harmonic distortion Hard or Harsh - too much upper midrange, around 3 kHz Heavy - good bottom-end response below 50 Hz

Hollow - a midrange dip or too much reverberation Honky - a bump in response around 500-700 Hz Liquid - opposite of grainy Mellow - reduced top-end Muddy - not clear, too much reverb at low frqs Muffled - weak highs or upper mids Musical - flat response, low distortion, no edginess Nasal - bump in the response around 300-1000 Hz, see Honky Neutral - accurate tonal reproduction Papery - a kick drum with too much output around 400-600 Hz Pinched - narrowband, pinched dynamics are overly compressed Piercing - strident, having sharp narrow peaks around 3-10 kHz Present - adequate response around 2-5 kHz, punch and clarity Puffy - bump in the response around 500-700 Hz Punchy - good transient response Raspy - harsh like a rasp, peaks in the response around 6 kHz Round - top-end rolloff, not edgy Sharp - strident and tight Sibilant or Essy - exaggerated s and sh in singing, peaks around 4-7 kHz Sizzly - see sibilant Smeared - lacking details, poor transient response Smooth - not harsh, easy on the ears Squashed - overly compressed Steely - see glassy, emphasized upper mids around 3-6 kHz Strained - opposite of effortless,inadequate headroom or insufficient power Sweet - top-end is extended to 15 or 20 kHz without peaks in response Thin - fundamentals are weak relative to harmonics Tight - good bottom-end transient response

Tinny or Telephone-like - narrowband, poor low, peaky mids Trasparent - clear, not muddy, wide flat frequency response Tubby - see bloated Veiled - slight noise or distortion Warm - good bass, adequate fundamentals relative to harmonics Wooly or Blanketed - weak top-end or boomy bottom-end, an emphasis around 250-600 Hz
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BIBLIOGRAPHY

Practical Recording Technique, by Bruce & Jenny Bartlett Live Sound Reinforcement, by Scott Hunter Stark Professional Microphone Techniques, by David Miles Huber and Philip Williams Practical Studio Techniques, by Tom Misner Recording the Guitar, by John Harris
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