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In the arenas of recording and mixing one can generally distinguish between two main goals
in applying EQ: The rst is sound correction, or sound design through processing of indi-
vidual channels while the second may be improving their separation or presence in the mix.
In the overall recording process there may be deciencies due to technical problems, for
example, noise or bleeding of neighboring instrument sounds that detract from the natural
quality of the desired instrument.
Through frequency response characteristics of a microphone or phase shifts due to reec-
tions, energy at certain frequencies can be reduced or get lost, denigrating the original sound
quality of an instrument. EQ is probably the most important tool to combat these problem
areas. Moreover, an instrument‘s sound can also be accentuated or emphasized—to the
point that this becomes in its own right a creative sonic activity with a production made only
possible by the employment of EQs and their special characteristics.
Basic Approaches and Working Techniques
While we would never assume that in creative and artistic work there should be absolute
rules, and this also applies to work with EQ: There is no such thing as “The Voice” or “The
Kick Drum” or “The Piano”.
The following is thus offered strictly as a basic orientation or starting point for such work,
and should not be misconstrued as dogma or any other kind of absolute. Nonetheless, in
order to achieve sometimes hard-to-dene goals when applying EQ, it really is important to
be aware of and be able to use a few accepted basic musical and technical guidelines.
EQ Yin & Yang
This section, on “EQ Yin & Yang” reproduces thoughts and verbalizations by Bob Katz, whose
superb Focal Press book based on a series of lectures entitled, “Mastering audio, the art and
the science”, we highly recommend.
In Chinese philosophy, Yin and Yang describe unconditionally bound opposites within
some kind of unity, which in turn, both complement and conict with one other. This idea
also provides an insightful analogy to the understanding of the connection between music,
harmony, fundamentals and harmonics (please see also, “Basics of frequency ltering, Tone
and Sound”, beginning on page 19). This mutual bond and interaction between such oppo-
sites creates inevitable and mutual reac tions and repercussions in the other whenever some-
thing occurs to one.
Here are a few examples:
• A small reduction in the lower middle range around 250 Hz can have a similar effect as an
increase in the presence region of 5 kHz.
• Added energy in the very high region of 15-20 kHz can create the impression of having made
the bass and lower mids thinner.
• Adding warmth to a voice will reduce its mix presence.
Working with EQ and this Yin and Yang principal means ideally to consider always such implied
repercussions of work in one frequency—for example, that in working to enhance warmth,
that one might want to avoid losing presence.
Harshness in the upper middle to lower high range can be countered with more than one
approach: A harsh trumpet section may be improved through a reduction around 6-8 kHz,
oder with an increase at around 250 Hz. Both of these measures result in a warmer sound, but
the decision of which to use should depend on which of the two also works best in the entire
mix.
Moreover, one should never forget how easy it is, while working intensely with isolated
elements of a mix, to fall into the trap of forgetting how such elements can inuence, for
better or worse, the rest of the mix.
Recommendations on using Equalizers