Graphic Eq Vs Parametric
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Graphic Eq Vs Parametric Eq
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Maybe using a GEQ for mains and monitors isn't as common as I thought. That's how it's set up on my school's M7CL at the venue I work at.This is how it used to be done, and is not a terrible way to continue doing things into the future.But basically, the only advantage that a GEQ has, is speed. If I hear feedback, the fastest way for me to get rid of it, is to eq it away with the 31 band EQ. For any other application, the PEQ is better. So, I use the PEQ to tune the system, and to eliminate any feedback that happens during soundcheck, because the cuts are more precise and sharper with a PEQ.
Then, during the set is the only time I touch the GEQ if I need to correct an issue. Background: And EQ is a group of adjustable filters. Each filter when boosting or cutting signal level also alters the phase of the part of the signal it is affecting. Multiple filters will also interact with each other when their affected areas overlap.A PEQ is most commonly just 4 filters. You can do quite a bit of frequency response correction with only one filter (taking the boominess out of a room, for example). With a GEQ if you want to effect a wide area of the frequency spectrum you have to use multiple filters at once, each causing its own damage to the phase response of the system. Not only that, but a group of filters overlapping each other cause even greater damage to the phase response.The other problem I have with GEQs is how wide a single filter's affect is.
If I'm just chasing feedback problems, I don't want to take big bites out of the spectrum. PEQs let me narrow their affected width down so that I can take a nasty resonant frequency down without noticeable effect to the overall tone. Parametric all the time for everything.One day we went through our GEQs and smaarted through them - haven't used one since.
There are two types of GEQ - Constant Q and Variable Q. Constant Q keeps bandwidth similar throughout the range of the slider. Variable Q tends to take out more than you really need at lower cuts/boosts.
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Some GEQs will also interpolate (fill in) between multiple cuts - i.e. If you take out 500z and 630hz - it'll fill in the cut between 500 and 630 to make a smoother cut with less phase shift.about Rane's development of Constant Q GEQsParametric EQs with high Q often did a better job of notching out than any of our graphics did. It also just does a better job of letting you know what you are doing. If I sit down in front of a GEQ I'm not going to look up its specs to see what type it is and how it handles things - I'm just going to use a parametric.Edit: Link and using better words. Not (as) much any more, as digital consoles, 6 band parametrics on monitor sends, and IEMs are far more common, but not so long ago, graphics were just a much easier (read: quicker) way for a monitor tech to eliminate feedback from wedges. For wedges, phase coherence isn't as big an issue as in the mains, and 31 bands allows you to get very surgical and address feedback issues without affecting neighbouring frequencies (at least, not audibly to the talent). With the advent of digital, where it's just one collection of code, repeated for the number of channels, rather than a 20U rack with multi-thousands of dollars of gear and cabling, it's much easier and sounds better to use parametric rather than graphic.
I always thought 31-band Graphic EQ's were used because the bands corresponded directly with the discrete bands on the Real Time Analyzer (RTA). You run pink noise, measure with a RTA - 100Hz is too low/high, so you turn around and grab 100Hz on the 31-band EQ and adjust.
Rinse and repeat (easy to automate too).However, it's much easier to implement a Parametric EQ for every channel on the mixer since it's at most 7 bands, but usually more like 4 bands.and I rarely ever find myself needing more than that.I also don't usually make broad, deep brush strokes on the main/monitor masters, but finer narrow-band adjustments.