What success looks like
Each fixed band shapes an overlapping region: low faders affect weight, middle faders body and articulation, high faders brightness.
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Audio, explained · 04 / 36
Graphic EQ
Shape ten fixed regions of the spectrum.
See how it works ↓The ten centers are 31.5, 63, 125, 250, 500, 1000, 2000, 4000, 8000 and 16000 Hz.
01 / Understand
The idea, before the settings.
Ten fixed-center faders control 31.5, 63, 125, 250, 500, 1000, 2000, 4000, 8000 and 16000 Hz. Their overlapping boosts and cuts combine into one response curve.
Broadband source→Graphic EQ→Meter → Output
Use it in AudioRouter
- Start with all ten bands at 0 dB and identify a specific problem by listening.
- Read the band descriptions below; change one relevant fader by 1–3 dB.
- Compare Input reference with Output, then check neighboring bands only if the correction needs a broader shape.
- After boosts, check downstream peaks and reduce upstream Gain if necessary.
If it does not work
A 16 kHz boost may be barely audible on your hardware. Do not compensate by adding extreme gain; use material containing that range.
Select the node to open Properties. Click its name to rename it. While playing, supported parameter-only edits save after a short pause. For structural edits, use Save when the canvas marks a change. Enabled and Bypass are distinct live controls; see the in-app help for their behavior.
02 / Explore
Make the behavior visible.
Bass notes, low rumble, bell overtones and quiet broadband texture give the ten bands material to work on. Each band's purpose and tradeoff is explained below.
The example repeats until you press Stop, and control changes are heard immediately. The picture shows the tool's shape rather than time; follow the timing in Follow the sound below. This is not a DSP measurement or control for your running AudioRouter session.
03 / Configure
Every control, with a reason.
01
31.5 Hz
band0Db31.5 Hz controls the very bottom of the sub-bass range. Most voice and everyday playback has little useful content here; this band mainly changes deep rumble and extreme low-end weight.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut a little to reduce floor, handling or mechanical rumble.
↑ Higher / alternativeBoost only if your source has clean sub-bass and your speakers can reproduce it.
Try thisTry −3 dB while listening for rumble between phrases; compare at matched loudness.
Keep in mind Large boosts here consume headroom and may move a speaker or headphone driver without making the sound clearer.
02
63 Hz
band1Db63 Hz adds or reduces deep bass weight: kick-drum thump, bass fundamentals and low cinematic impact often live around here.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeReduce it when kick or bass feels boomy or overwhelms the voice.
↑ Higher / alternativeAdd a small amount when a clean source sounds too thin at the bottom.
Try thisTry +2 dB on a bass-heavy music loop, then check that speech remains easy to hear.
Keep in mind A boost can make small speakers distort; this band is not a fix for room rumble above it.
03
125 Hz
band2Db125 Hz shapes bass body and warmth. It can add fullness to a voice or instrument, and too much can make a mix sound thick or boomy.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeTrim a few dB if voices sound tubby or bass notes blur together.
↑ Higher / alternativeAdd a little if a close-miked voice or instrument feels too lean.
Try thisTry −2 dB on a boomy voice recording and compare without changing playback volume.
Keep in mind Listen in context: a cut that cleans one voice may thin a full mix.
04
250 Hz
band3Db250 Hz affects low-mid warmth and the boxy, muddy quality that can build up when several sounds share the same space.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut slightly when a voice sounds cloudy or a mix has a cardboard-like buildup.
↑ Higher / alternativeBoost gently when a source lacks body and sounds small.
Try thisTry −2 dB on a muddy voice-plus-music mix, then bypass to confirm clarity improved.
Keep in mind Broad cuts can make a source hollow; change one band at a time.
05
500 Hz
band4Db500 Hz shapes lower-mid body and woody or boxy tone. It often changes whether a voice or instrument sounds solid or congested.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut a little if a source sounds nasal, hollow-boxed or congested in the lower mids.
↑ Higher / alternativeBoost modestly if it has lost body after other cuts.
Try thisTry a small −2 dB cut on a boxy voice, then restore it if the voice becomes thin.
Keep in mind The label is a center frequency; the fixed band also affects nearby frequencies.
06
1 kHz
band5Db1 kHz sits in the middle of the sound and changes a source’s core, forward tone. Too much can sound honky; too little can push a voice back.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeReduce it slightly if a voice or instrument has a persistent honk.
↑ Higher / alternativeAdd a little if the midrange feels distant after level matching.
Try thisTry −1.5 dB on a honky voice, then compare at the same loudness.
Keep in mind Do not use this band alone to solve intelligibility; consonant clarity is higher in frequency.
07
2 kHz
band6Db2 kHz affects upper-mid articulation and attack. It can help words and instrument edges come forward, but can also make a sound hard.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut slightly if speech or instruments feel aggressive or tiring.
↑ Higher / alternativeBoost gently when a voice is clear but its articulation is buried.
Try thisTry +1.5 dB on a voice that needs a little more definition, then listen for harshness.
Keep in mind A large boost can exaggerate room noise and make listening fatiguing.
08
4 kHz
band7Db4 kHz adds or reduces presence and crisp definition. This is where a small adjustment can make a voice feel closer, or make it sound sharp.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut a little if a voice has a hard edge or the mix is tiring.
↑ Higher / alternativeAdd a little when speech lacks presence against background sound.
Try thisTry +1 dB and compare at matched loudness; keep it only if words are easier to follow.
Keep in mind Strong boosts can emphasize consonant edges and fatigue; sibilance often needs a more targeted tool.
09
8 kHz
band8Db8 kHz changes brightness and the sense of air, along with some sibilance and hiss. It can make cymbals or consonants more apparent.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeReduce it if “s” sounds, cymbals or recording hiss are too prominent.
↑ Higher / alternativeBoost subtly if a clean source sounds dull and needs a little sparkle.
Try thisTry −2 dB on a hissy voice recording and check that consonants remain natural.
Keep in mind This band can make noise more obvious; de-essing or noise reduction may be more suitable for a specific problem.
10
16 kHz
band9Db16 kHz changes the extreme top end: a little “air” on sources that contain it. Many speakers, headphones and recordings have little useful energy this high.
Range / choices-18 dB → 18 dBDefault0 dB
↓ Lower / alternativeCut if the top end carries hiss or fizz.
↑ Higher / alternativeA tiny boost can add air to a clean, full-band source.
Try thisCompare a subtle +1 dB change on a bright, clean recording; if you hear no benefit, leave it flat.
Keep in mind Large boosts add noise and consume headroom, and may not be audible on your playback system.
04 / Put it to work
Start with a useful example.
Make a small tonal correction
- Start with every fader at 0 dB.
- Try cutting 250 Hz by 2 dB for excess low-mid body.
- Move one fader at a time and compare bypass.
Reduce excessive brightness
- Try −2 dB at 8 kHz.
- Listen to consonants as well as hiss.
- Prefer a small cut before combining several deep cuts.
These are starting points. Compare at a comfortable monitoring level and adjust for your own source.
05 / Get unstuck
Small details that matter.
- A fixed band is not a surgical notch.
- Multiple boosts add up and can overload later stages.