Post EQ in Daw High Gain

stm113

Power User
What kind of Post EQ do you guys do? I've had my AF2 for a little over 5 years, it's been used live A LOT but I have yet to use it on anything beyond demo recordings. I've had many false starts but my coverband (that's winding down) just keeps me so busy.

I've been getting ready to actually tackle some real projects and in doing pre-production work I've started paying more attention to my tones and realize that post EQ is what I'm missing. I'm using a HPF somewhere between 80-100 depending, I've also leaned that cutting a little around 300-350 really helps the guitars sit in the mix but there's something in the mids or high mids that I think needs to be cut. Of course there are no absolute EQ rules and every case is different depending on amps, cabs, guitars, fx, other instruments, the song, the day of the week and lunar phase etc, but what general EQ moves do you guys use?

Thanks!
 
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It depends. As you said, there are no absolute rules. That said, you cannot get a great result out of a lifeless track, so personally, I strive for good tracks with tone that holds it's own. In other words, tracks that do not require a lot of adjustment to sit well in the mix. It helps to have an idea of what the finished song is going to be before you start recording. Personally, I find placement in the stereo field is extremely important to how the song is going to mix. Generally, I prefer to record dry guitars and add effects in the mix. Dry guitars generally do not sound very good to my ears so I do leak reverb and or delay into the headphone mix when recording, but the recorded track is dry. I do hope this helps you.
 
Agree with @Geezerjohn. I usually record scratch tracks for everything first to get a general sound then re-record later. Sometimes I'll record the DI tracks and then send them back through the Axe FX and dial in an amp with the mix to get the amp to sit in the mix well before I touch any DAW EQ.

That all said, I generally do what you said. High pass filter around 80 - 100hz and then sometimes a low-pass filter around 8k - 10k. I usually do the low pass filter in the cab block, though. If I do any other EQ cuts, it's dependent on the mix and I do very small boosts/cuts in random places.
 
I find a handy trick is to put a multiband compressor on the signal, but use the same settings at each of the bands - this helps with metal parts which feature chuggy riffs, because the compressor will only really clamp on that low-mid chunkiness during the chugs, and leave the rest alone (relatively speaking). Better than sucking energy out of the harmonics going on over the chugs, especially if you play really fast pedal-tone riffs with chugged open strings in between.

That's my only real tip - the Axe is the same as any amp otherwise, when it comes to recording.
 
What kind of Post EQ do you guys do? I've had my AF2 for a little over 5 years, it's been used live A LOT but I have yet to use it on anything beyond demo recordings. I've had many false starts but my coverband (that's winding down) just keeps me so busy.

I've been getting ready to actually tackle some real projects and in doing pre-production work I've started paying more attention to my tones and realize that post EQ is what I'm missing. I'm using a HPF somewhere between 80-100 depending, I've also leaned that cutting a little around 300-350 really helps the guitars sit in the mix but there's something in the mids or high mids that I think needs to be cut. Of course there are no absolute EQ rules and every case is different depending on amps, cabs, guitars, fx, other instruments, the song, the day of the week and lunar phase etc, but what general EQ moves do you guys use?

Thanks!

Funny you mentioned the 300-350hz range :) I’ve found myself having to cut a generous amount in that region as well!

I’ve landed around 350-360 every single time, and im at least cutting around 8 db’s.

It’s a resonant peak that is so loud, that it sits on top and masks the entire tone.

On a related note; i’ve discovered lowering the high cut dramatically on the amp section greatly improves the high end fizz/sizzle as well (all the way to somewhere around 1000hz). It may sound like a lot, but it has such a gentle slope, that it allmost behaves like a high shelf attenuation, so it leaves the high end intact whilst taming it considerably, so it ends up a lot more balanced with the rest of the frequency spectrum. I find it to yield a lot more “transparent” result, compared to the high cut in the cab section (both are certainly valid methods, it all comes down to taste).
 
For me, on high gain stuff, I always seem to find some nasty frequencies in the 4k range. Right around 3.9ish I will cut. It gets rid of some swishy/whistle sound in the top end. Look around for conversations about the 4k guitar issue, I think its just one of those problem areas. Also, Lately I've been making small boosts in frequencies that accentuate the key I'm playing in. Also you can try cutting the frequencies that revolve around the tritone and minor 2nds of the key you are in. Not much but just enough make them not stick out. This really adds clarity from my experience. If you have an EQ that has the piano keys at the bottom, it makes it easier to do. Otherwise you can look up note to frequency charts on google.
 
Funny you mentioned the 300-350hz range :) I’ve found myself having to cut a generous amount in that region as well!

I’ve landed around 350-360 every single time, and im at least cutting around 8 db’s.

It’s a resonant peak that is so loud, that it sits on top and masks the entire tone.
Sounds like maybe you’re fighting a room resonance.
 
Sounds like maybe you’re fighting a room resonance.

I thought so at first as well, but it’s also present when listening through my reference headphones.

So wherever the culprit resides, my suspicion points to the unit. If it’s IR specific, i have no clue.
 
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I thought so at first as well, but it’s also present when listening through my reference headphones.

So wherever the culprit resides, my suspicion points to the unit. If it’s IR specific, i have no clue.

A room resonance will affect tracking too, if you are using speakers in the room during tracking (vs. silent tracking with headphones).
 
but there's something in the mids or high mids that I think needs to be cut
This would be the 600Hz to 800Hz and it's one that I love cutting (wide Q of about 1). Taming this area will bring on an instant boost in balance and airiness for your guitars in a mix. In case your interested, I use FabFilter Pro-Q 2 as one of my main DAW EQ plugins.

Another thing on basic EQ for guitars, and this has already been mentioned, is filters. Beside the high-pass, I also use a low-pass filter at 12 or 6db/oct anywhere from 6 to 10kHz. But here's the trick I like to use. Once I've low-passed, I like to use a high-shelf boost. And depending on the track, it varies on which plugin I reach for to do the job. Sometimes the Kush Hammer, Clariphonic, PSP preQursor2 or some other one. You'll be surprised at how dull your guitars sounded when you bypass that EQ. Not too much though because there's a point where it just falls apart and sounds harsh and brittle.
 
This would be the 600Hz to 800Hz and it's one that I love cutting (wide Q of about 1). Taming this area will bring on an instant boost in balance and airiness for your guitars in a mix. In case your interested, I use FabFilter Pro-Q 2 as one of my main DAW EQ plugins.

Another thing on basic EQ for guitars, and this has already been mentioned, is filters. Beside the high-pass, I also use a low-pass filter at 12 or 6db/oct anywhere from 6 to 10kHz. But here's the trick I like to use. Once I've low-passed, I like to use a high-shelf boost. And depending on the track, it varies on which plugin I reach for to do the job. Sometimes the Kush Hammer, Clariphonic, PSP preQursor2 or some other one. You'll be surprised at how dull your guitars sounded when you bypass that EQ. Not too much though because there's a point where it just falls apart and sounds harsh and brittle.
Dude thank you for the advice on this, I will be implementing in the pre-production scratch tracks I’ll be working on tonight.
 
A room resonance will affect tracking too, if you are using speakers in the room during tracking (vs. silent tracking with headphones).
I’m glad you mentioned this. I remember about 3 or so years ago when there was a discussion of “something” missing, like a dimension in the tone and Cliff said it’s about the guitar picking up resonances when recording at higher volumes that you can’t get when recording at lower volume or headphones.

I wonder if that’s still a thing, and how should I figure for that if I am going to track with knowing I will be re-amping my guitars.

I had thought about for the real recordings splitting a signal, sending 1 to my AF2 then into my DAW and then the other into my 5150iii cranked.

The concern I have about that though is I won’t likely be using the 5153 model in reamping, in fact I’ll be using a bunch of different models, but the resonances during recording will be from the 5150 iii. Will that cause a weirdness? Maybe I am over thinking it?
 
I keep a close eye on certain bands

300 - boxy mids
600 - warm mids
1200 - nasal mids
2400 - biting mids
4800 - harsh/smooth top end
9600 - air/fizz
 
I remember about 3 or so years ago when there was a discussion of “something” missing, like a dimension in the tone and Cliff said it’s about the guitar picking up resonances when recording at higher volumes that you can’t get when recording at lower volume or headphones.
It’s not that the guitar “picks up” resonances. It’s more that the guitar vibrates with the sound coming out of your amplifier. That sets up resonances that depend more on room reflections and how far your guitar is from the speaker.


I wonder if that’s still a thing, and how should I figure for that if I am going to track with knowing I will be re-amping my guitars.
It’s physics, and physics is still a thing. :). You account for it by recording at volume.

Maybe I am over thinking it?
Just a bit. As you’ll discover when you try it. Betcha don’t hear any “weirdness.” ;)
 
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