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First control levels, then apply EQ
Badly adjusted levels often induce us to misuse EQ in misguided efforts to correct them. As
soon as one has the feeling that he or she needs more that 6 dB in EQ (boost), one should
investigate thoroughly whether or not initial levels have been set properly.
First cut, then boost
“The ear” is more used to energy reductions in a frequency range, thus boosts attract more
attention. That is, a 6 dB boost is perceived to be similar in amount to a 9 dB cut. Therefore
when wishing to emphasize one frequency, it is typically better rst to consider a reduc-
tion in others. The result will bring more transparency and clarity as well as reduce possible
unwanted coloration of the signal.
Reducing bleed from other instruments or noise outside an instru-
ment‘s frequency range
Wide band lters setups should be chosen with threshold frequencies in ranges from one-
to-two octaves above or below the highest or deepest instrument‘s frequency. Example:
To eliminate cymbal bleeding in a kick drum recording, one should try a setting from about
10 kHz with a 10-15 dB cut.
Reducing bleed within an instrument‘s frequency range
The main frequencies of the bleeding instrument should be reduced as far as possible while
avoiding to alter the natural sound of the main instrument in an unnatural way.
Boosting harmonic frequency levels
Harmonic enhancement is one of the foremost techniques for increasing the clarity and de-
nition of an instrument. The following is an overview for three typical instruments:
Bass – 400 Hz: Bass lines will be accented
Bass – 1500 Hz: More clarity and attack sounds
Guitar – 3 kHz: Clearer attacks
Guitar – 5 kHz: Brighter, more brilliance
Vocals – 5 kHz: More presence
Vocals – 10 kHz: Brighten up
Note that each instrument will have at least two frequencies where EQ can achieve a greater
clarity or brilliance.
Boosting fundamental levels
Inexperienced audio engineers will often rst try to make corrections by boosting fundamen-
tals, something which in fact should be the last thing one considers. Boosting fundamentals
typically lowers clarity and produces a muddy sound. If two instruments are playing the same
part and thereby produce the same fundamental, raising these levels will lead to a decrease
in the sonic difference between them, (i.e., will make the two instruments sound more alike
and lower their intelligibility in the mix). This is also true when two instruments play similar
parts in the same key.
Exception: When an instrument sounds thin or small, boosting the fundamental can help.
Or perhaps a microphone was poorly placed or the harmonics had been raised excessively
through EQ. Finally, increasing fundamental levels can also play a constructive role when
instruments play alone or as soloists with others in the background.
Recommendations on using Equalizers