Decides which frequencies to attenuate and which not to (think of this last one as "to copy/let through").
Of course, no EQ is perfect, so it does this with approximations. For easier thinking about this, imagine strict-graphic EQ with 5 bands. Disregard the high-pass and low-pass bands, and focus on one of the band-pass ones. It utilizes both high and low cut attenuator, so it attenuates (lowers) all the frequencies that are not required. The Q (stands for "quality") describes how much should both filters (high and low cut) be eliminating the frequencies.
Another useful analogy for EQ bands would be this: imagine you see the Sun (that it contains all the colors in our watchable electromagnetic spectrum). Now, imagine you put a blue glass in front of your eyes. Now you'll only see blue light, as the glass eliminates all other frequencies (acts as a filter). If you have glasses in multiple colors, you have multiband EQ (that only cuts).
It is all filtering, but with complex formulae so you can move your bands and decide whether you want to cut, boost, and how much. Hope this helps.
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Originally posted by Muad'Dibimagine you see the Sun (that it contains all the colors in our watchable electromagnetic spectrum). Now, imagine you put a blue glass in front of your eyes. Now you'll only see blue light, as the glass eliminates all other frequencies (acts as a filter). If you have glasses in multiple colors, you have multiband EQ (that only cuts).
thanks guys I kinda knew that stuff though, I was meaning like If I boost the mid frequencies or something on a saw wave, how will it change the shape of the saw wave
When you look at the sine wave (say pure sine sub bass), you can look its' fairly simple shape (SINE.jpg). The sine I posted on the pic is about 50-60Hz.
Now, let's say a kick comes in. The kick has fundamental frequencies around 90-100 Hz (or maybe even as low as 50Hz), but no kick is made only of its' fundamental - it's made of multiple frequencies that strike in. (KICK+SINE.jpg)
Now, you can see that the kick introduces a multitude of tiny oscillations that ADD UP to the main sine oscillation. This is mostly noticeable in the further part (marked with red) which clearly looks similarly like the first sine I've posted, but with some disturbances in the look of the wave line.
There are also some small bumps that are noticeable. These bumps are the higher frequency sounds.
How? If a tone = oscillations per second (Hertz), then, higher tones are more oscillations per second (more Hz). Time is counted from left to right, so, smaller bumps on there (by length from left to right) means more oscillations.
Now, of course you have your pure sine wave (the sub) along with the other higher frequency sounds, so you can't see them in the image as separate sine waves, but as combined. This combining is made with interpolation. You distort the pure sine wave by adding the higher frequency sounds mathematically so the wave graph carries the bass + the higher freq sounds (or fundamental + harmonics for example).
Now, when you boost or lower the certain frequency band, the bumps on this image will either be made bigger or smaller (in amplitude, up and down) thus making the speaker oscillate more or less on that specific frequency band.
For example, see how the kick changed the form of the bass. It introduced many more waveforms (sine waves) with higher Hz.
I selected a part and EQed it with adding amplitude/volume to the higher frequency parts of the selection, and you can see on the picture (EQ applied.jpg, and I applied the EQ settings shown in the EQ.jpg file) how that changed the waveform - it enhanced the bumps, made them bigger, while keeping the relative low-freq fundamental shape of the selection almost intact.
That's how EQ changes your wave shape.
Muad'Dib has attached these images (downsized versions):
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Less high end, more bass = bigger movements in waveform
more high, less bass = more fuzzy waveform
Not exactly, but usually it goes this way, yes. This applies to horizontal movement, but vertical (amplitude) movement is the same despite the frequency involved.
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