Radley EQ tips

Here’s another technique I’ve been using lately to get the most out of the AFX’s Parametric EQ - Cliff’s version of the classic 5-band parametric EQ is QUITE versatile, but some aspects of it’s versatility may not be so obvious, and hence this thread.

How many times have you wanted to filter some ultra-lows or ultra-highs from a patch without losing the ‘overall personality’ or ‘punch’ of the sound? You know - remove some cumbersome low end and fizzy highs, without losing fullness or hi-end articulation. This has never been an easy thing to accomplish, but with the AFX we have been given an incredible tool to do just that - it is the AFX Para-EQ....

The real magic for accomplishing this is found in the first (1st) and last (5th) bands of the AFX Parametric - it is here we can define the overall frequency spread (narrow or wide), as well as the specific contour (shape) of that spread, while the remaining 3 para bands are still available for whatever else we may want to alter in the remaining EQ curve. Although the user manual is rather sparse on description, there are 3 selections for the Type parameter of these 2 outer bands:

Shelving - All frequencies at or below the specified frequency are boosted by the selected db amount. Most Treble & Bass amp EQs operate this way.

Peaking - The frequencies at or or close to the specified frequency (i.e. bell curve), are boosted referenced to the selected db amount, as defined by the width of the Q setting. A more definable type of boost or cut.

Blocking - Just the name alone sounds rather negative and unusable, no? WRONG! :shock: IMO, this is just what we need to sculpt almost any response curve desired.

Here’s how simply it’s accomplished:

The first and last bands of the Para EQ are used to literally define the width and shape of the overall tonal response of the patch by these steps: (it is assumed that the PEQ will be positioned after the Amp & Cab)

Low (1st) band - Select Blocking as the Type. Select the frequency you want to be the center frequency - this frequency parameter will determine where the filter will start rolling off the low frequencies - typically, this will sound rather lackluster, as you will start to miss the extended low end <BUT> we have another parameter called ‘Q’, and it is very powerful in this instance. Start increasing the Q value until you hear (and see on the AFX display) a beautiful boost at the operative frequency - at this point you may want to alter the center frequency somewhat....go for it. Keep in mind that this boost does not effect the frequencies below the cutoff frequency (they have effectively been ‘nixed’). With this technique, we can retain fullness, while eliminating unwanted lower frequencies that can interfere with the bass & bass drum in a mix.

High (5th) band - Again, select Blocking as the Type. The frequency parameter will determine where the filter will start rolling off the high frequencies - typically, this also will sound somewhat lackluster & dark, as you will start to miss the extended high end brightness <BUT> lest we forget, we have that extra parameter called ‘Q’, and it is just what the doctor ordered to ‘make up the difference’! Example: If you feel there is excess hash/fizziness upwards of 4k, simply select 4k as the center frequency, and then use the ‘Q’ parameter to restore any presence that is apparently lacking - it’s there in spades my friends. At this point you may want to fine-tune the center frequency for refinement...

Keep in mind that you still have 3 bands of para EQ that have not yet been used! ;)

Tips:

• An approximation of a Billy Gibbons/ZZ Top OD tone would probably involve low/hi rolloffs of somewhere around 165z and 3.2kz - tweak Q according to taste, and don’t forget the 3 remaining para bands.

• Try this Para-EQ technique on some of your favorite patches - you may find that you like the sound of your favorite Amp model with a more limited/customized bandwidth!

Bottom Line: This technique can not only enhance existing patches, but also transform them into totally new entities if desired. In general, the smaller the real amp you are wanting to ‘cop’, the more narrow the bandwidth should be (cutoff frequency points moved towards the center) - you can create some interesting sounds like an old Rockman or a funky drive-in theatre speaker by decreasing the frequency spread. For Voxy/British tones, you might want to also cut some at 1.5kz (‘Q’ somewhere around 2), using one of the unused para bands.