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![Graphic vs parametric eq Graphic vs parametric eq](/uploads/1/2/7/1/127157997/111157926.jpg)
But while graphic equalizers have fixed frequencies, parametric equalizers can choose a center/primary frequency. For example, if a graphic equalizer has a fixed control at 20 Hz, a parametric equalizer can be adjusted to control frequencies at 10 Hz, 15 Hz, 20 Hz, 25 Hz, 30 Hz, and so forth.
Audio equalizers are used to alter the characteristics of an audio system. When discussing the topic of, one may initially think of the types found in home theaters and/or car stereos. However, many modern audio or audio-related devices have some form of a built-in audio equalizer. It could be as basic and simple a that has knobs to adjust bass and treble levels.
Or it could be a touch more robust, such as what is often featured within audio/music apps for mobile devices or software for PC/desktop sound cards. The best audio equalizers are designed to provide greater and more accurate control over tone and frequency – a significant leap beyond just simple bass and treble knobs. They can raise (boost) and lower (cut) the decibel output of specific bands (frequencies of sound).
Some offer built-in audio equalizer controls with varying levels of complexity. You might see them represented by an array of individual sliders or dials. Or they could be presented digitally through an LED/LCD screen and modified by buttons on the unit or remote. A graphic equalizer is the simpler type of audio equalizer, most often sporting multiple sliders or controls for boosting or cutting bands. But the number of individual controls can vary by make and model. For example, a typical five-band graphic equalizer will have sliders for five fixed frequencies: 30 Hz (low bass), 100 Hz (mid-bass), 1 kHz (midrange), 10 kHz (upper midrange), and 20 kHz (treble or high-frequency). A ten-band equalizer has sliders for ten fixed frequencies – typically the ones previously mentioned along with other values in between those.
More bands mean wider control over the frequency spectrum. Each of the fixed frequencies can be boosted or cut to a maximum/minimum degree. The range could be +/- 6 dB or perhaps +/- 12 dB, all depending on the make and model. But there is one main thing to understand about using a graphic equalizer; when you adjust a slider, it also affects the neighboring frequencies.
Think about what happens when you poke a finger into a plastic wrap that's covering a bowl. As the finger presses down into the plastic, it creates a slope effect. The areas closest to the finger are more affected by the sloping than areas further away. Pushing harder also intensifies the sloping versus a light poke. This same principle applies to how graphic equalizers handle frequency adjustments when boosting/cutting bands.
A parametric equalizer can also control bandwidth/range – the sloping that affects neighboring frequencies – of each individual frequency. For example, if the center frequency is 30 Hz, a wide bandwidth would also affect frequencies as low as 15 Hz and as high as 45 Hz. A narrow bandwidth might only affect frequencies as low as 25 Hz and as high as 35 Hz. While there is still a sloping effect, parametric equalizers are better able to zero in on and fine-tune the shape of specific frequencies without disturbing others too much. This detailed permits finer adjustments in order to suit particular/personal tastes and/or goals (such as for mixing or recording).
The tone wouldn't be any different, not really.They each have their advantages.I personally find it best to use a graphic EQ in front of the amp, either for level boosting for solos (like a clean-boost but with more EQ control rather than an automatic mid-hump) or cutting (works great for dirty-clean tones while the amp's gain is cranked).And I like using a parametric EQ in the amp's effects loop. You bitches know nothing?:lol:Parametric EQs are more versatile but they have a steeper learning curve. It takes a while until you can related what you are hearing to what frequencies you should be cutting or boosting. It's also harder to make adjustments on the fly with a parametric eq.I think graphic EQs are cheaper, a lot easier to use and with 31 bands, chances are every frequency you will need to tweak will be there. Guitar tones normally have a somewhat narrow frequency range anyway normally between 80Hz and 1.5KHz. Does it color the tone much?It does to your tone what you set it to.
![Parametric Parametric](http://soundschematic.com/wp-content/uploads/2011/05/graphic-EQ.jpg)
Nothing else.Parametric EQs do take a little bit longer to learn than graphic, mostly because a graphic EQ visually shows you what it's doing to your guitar signal (the position of the sliders looks like a frequency graph).Basically, the best way to use a parametric EQ is first select the frequency you want to boost, eg. 600Hz.Then crank its level right up to +10dB, or the highest you can go.Then turn the Q control until it sounds like how you want. This can control how present, or 'spiky'/peaked the frequency will be. A lower Q will bring up the nearby frequencies, so in a way will make the guitar sound more present without sounding honky. A higher Q will make that 600Hz stand out more, and could get obnoxious if you don't like that sound. It's weird because you could lower the centre frequency to 500Hz and it will still have that cutting sound but not quack like a duck.So, get the frequency sounding like you want, even if it's more than you want, then lower the level to where you want that frequency to be, like a mix control.So you could think of a parametric EQ as a mixing desk. The Frequency can be a particular instrument.
The Q is the tone of that 'instrument', and the Level is the mix level.Remember that levels of other frequencies can affect how a particular frequency will sound and stand out.For example, you can make the tone brighter by reducing some of the midrange (be careful where you select here), without cranking the top end so much it sounds harsh.
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