39 EQ TIPS
from Music Tech Magazine (slightly simplified
TOP EQ TIP:
0 Ear! Ear!
There are no hard-and-fast rules when applying EQ. Use our collection of EQ
tips as a guide, but use your hearing as the ultimate arbiter. If it sounds
good to you, then it's probably what you're after. Before starting, find a song
that sounds similar to the way you want your song to sound. If your sequencer
has the capacity, recording your chosen song onto a spare track, and use it
as a reference while EQing your song. What you're trying to do is get a similar
balance of frequencies- low mid and high- and similar low end punch and high-end
sparkle.
1 Don't fix it in the mix.
You've probably heard the expression: "We'll fix it in the mix." Well,
no. You can't improve a lame recording by boosting EQ levels; all you'll do
is draw attention to how bad it is. So make sure you're working with the best
records you can before you even start to think about mixing and EQ. Don't compromise
on recording quality.
2 Before you start:
Set all EQ settings to their middle positions so no EQ is being applied at all.
Before you reach for an EQ control, listen to the mix a couple of times, use
a reference track (see top tip), and identify the areas and tracks that need
attention. Only then should you begin.
3 Phoney
Don't mix through headphones.
4 The low down
Small speakers cannot reproduce low frequencies very accurately, so if you have
to mix on small speakers, beware of overcompensating for the low end. Idellay,
use a professional set of monitor speakers (The NS-10m's?) If in doubt, roll
off the low end at around 50hz, but you really need to listen to the mix on
different speakers and playback systems to hear how it sounds.
5 Ear Fatigue
There is a phenomenon known as ear fatigue that happens after periods of intense
listening. After you've been EQing and mixing for a few hours, stop and resume
the next day. You may not know fatigue has set in until the following day when
you listening to the mess you made the day before.
6 Find that frequency
To find the freq that needs adjusting - whether it's the muddy area or the area
with "body" - set a narrow parametric with a good boost, then sweep
back and forth from the suggested starting frequency. The EQ will accentuate
the frequencies making it easier to home in on the required area. It can then
be boosted or cut more gently as required.
7 How to EQ
When you've found the freq you want to tweak, whack the control up or down so
you hear its full effect. That will let you know exactly what you'll be affecting.
Our ears attune very quickly to changes in tone and with small changes yo may
not appreciate the differences. Having acclimatised your ears to the freq, adjust
the control so the sound sits well within the mix.
8 It's the mix that counts
When EQing a mix, although you will actually be processing individual tracks,
the most important thing to remember is that it's the overall mix that really
counts. You may have to roll off the bottom end of a guitar to make room for
the vocals, and it may sound thin on its own, but if it sounds fine in the context
of the mix, then that's exactly what you're aiming to achieve. That being so,
EQ tracks while listening to the entire mix, but if that proves difficult, don't
be afraid to solo a track to EQ it. Just make sure the mix sounds OK afterwards.
9 Going solo
After applying EQ to a mix, solo each track and do an A/B comparison with the
EQ bypass switch. Each track should still sound like the original recording,
even if it's a little thinner or deeper. Beware of boosting one track and then
feeling you have to boost all the other tracks in order to compensate. That
merely puts the sound back to square one.
10 Cut or boost
Most advice on EQing suggests you cut rather than boost. The danger of boosting
is that you increase the treble areas of all the tracks and the net result is
simply a louder mix with the same ort of balance. If a mix needs brightening,
then EQ the entire mix, not each individual track.
11 Your name is mud
300hz is the "mud" frequency and sounds in this area can be indistinct,
although muddiness can extend as far as 800hz. Strings and pad-type sounds are
particularly susceptible in this area. On a muddy track, set a parametric to
300hz and sweep until you find the muddy spot.
12 Cymbolic
When recording a live drum kit, cymbals are often recorded with overhead mics,
whick will likely pick up bass freqencies from other drums, too. Cymbals have
a propensity to cut through a mix and you can safely roll off the bass end of
a cymbal track.
13 Kick it
Add oomph to a kick drum by boosting in the 80-100hz zone. For a rounded sound,
try a little boost between 2khz and 5khz.
14 Drums on tracks
Try to put each drum on its own track as this gives you the greatest amount
of flexibility when editing, mixing, and EQing.
15 Too low
Beware of boosting frequencies below 50hz, particulary with drums and bass,
as you run the risk of rattling windows and damaging speakers.
16 Snare and snare alike
Boost a snare drum in the 4-8khz region to add "thwack". Experiment
in the 80hz and 120hz areas to increase the resonance.
17 Get yer hat
Hi-hats and cymbals usually sit at the top of the drum mix, so cut below 2khz
or 3khz and boost between 8khz and 12khz to add brightness, but beware of adding
hiss.
18 Beat it
Accentuate the sound of the beater hitting the drum by boosting the area between
3khz and 6khz.
19 Tom tom
Treatment of tom toms will depend on their range, low mid or high. Low toms
can sound muddy and may need to be seperated from the kick drum by cutting around
the kick's main frequency. Panning the toms can also help seperate them from
other drums.
20 Bass booster
Boosting the area around 80hz will accentuate the bassiness of a bass guitar.
The area between 500hz and 800hz can be used to beef up a bass.
21 Synth bassie
Synth bass sounds can be treated like a bass guitar, but may are quite bright
with high harmonics and their range can easily overlap with sounds including
vocals. Be wary of boosting these upper frequencies too much as they could swamp
a mix.
22 Body electric
Add warmth to an electric guitar by boosting in the 120hz to 200hz region. There's
no point in boosting much below this as that's about as low as the guitar goes
and you'll only increase boominess. Boosting a guitar at 3khz or 4khz can add
bite. Boosting frequencies at 6khz or even higher, depending on the guitar and
how it was recorded, will add brightness.
23 Stringing along
Strings tend to occupy the middle of the listening spectrum and may need EQing
to give them a position and prevent them from hogging the mix. A lot depends
on the nature of the recording, but a little boot at 300hz to 400hz can add
warmth. You may want to roll off a little high end, too. The 6lhz to 8khz area
can add presence and sizzle, but don't overdo it or the sound can become harsh
and digital.
24 Brassed off
A brass section tends to occupy the lower-to-middle end of the spectrum, although
modern brass can compete with strings (well, almost) at the upper end, too.
The 500-800hz area adds warmth (roll off the high end if it's too harsh) and
boost frequencies up to 12khz to add sharpness and brightness.
25 Pia-pia-piano
The best piano sound is one that has been recorded with several correctly placed
mics and sound need minimal EQing. However, the piano has the largest range
of any instrument and can potentially be an EQ candidate at any frequency. A
feature of the acoustic piano is that all the strings resonate in harmony with
whatever notes are being played, which is what lends the instrument its interesting,
complex, and ever-changing tone. It's one of the few instruments we can listen
to over long periods of time without becoming "bored" with the sound.
In most modern music, however, the full range is rarely utilised and an electronic
or synthesized piano - or sampled piano sound - is more likely to be used, which
probably won't fully duplicate the tonal variety or resonance of an acoustic
model. So, watch out for mud in the 300hz to 900hz area, boost the bass below
150hz (but don't go too low or it will sound boomy and unnatural), and add clarity
in the 4khz to 6khz area. You may hear engineers talk of "adding air"
to a track. Try this with a broad band boost above 12khz, but take care not
to add hiss.
26 Good vocals down
Of all instruments, vocals can be the most difficult to record and EQ to your
satisfaction. Spend time making sure the original recording is as close as possible
to the way you want it. This will make it much easier to fit into the mix later
one.
27 Squeeze it
Vocals have the greatest dynamic range of all instruments and can benefit greatly
by being compressed to make them fit better into a mix. before applying EQ.
28 Pop song
When recording vocals, always use a pop shield to prevent plosives (B, D, K,
T, and particulary P sounds as no amount if EQ will remove them.
29 Not now Sibyl
Cut in the 6khz to 8khz region to reduce sibilance in vocals. If it's still
a problem, try a de-esser effect. However, there are no substitutes for recording
the vocals correctly to begin with.
30 Touched by your presence
Add presence to a vocal by boosting the 3khz to 4khz area (if that doesn't quite
catch it, go down to 1khz and up to 6khz) but don't overdo it as it can make
the vocals sound unnatural.
31 Back off
Backing vocals can often be made to sit in a mix better by rolling off a little
of the lower end.
32 Frequency hog
You will often find that two sounds clash at a particular frequency. This is
quite common with guitars - which are at their worst when they interfere with
vocals - although an overlap can happen with any sounds. Create seperation by
shaving a bit off the least important sound where it clashes with the other.
In the case of guitar and vocals, for example, the guitar's lower frequencies
could be reduced without changing the essential nature of the sound, to leave
the vocals more prominent.
33 Hmm
Sometimes you may end up with recorded material that includes a hum from mains
power. This will be at 50hz in the UK (60hz in the the USA), and in some cases
you may also get hum at multiples of the frequency, such as 100hz, 150hz, and
so on. Home in on the offender and remove it with a tight parametric EQ.
34 After the rest
After EQing, take a rest and then listen to the mix with fresh ears (see Tip
5). You may find that the volume of certain parts, perhaps the guitars, is out
of balance. Instead of reaching for the volume faders, use EQ to boost or lower
their brightness. We perceive brighter sounds as being louder and closer, so
adjusting brightness can pull or push a sound forwards or backwards in a mix.
35 Leveller
When you boost frequencies you also increase the overall volume level, so keep
your eye on the meters for signs of overload and distortion, and adjust the
levels accordingly to avoid this.
36 Not an EQ trick #1
An important function of EQ is to seperate sounds in the mix, but sometimes,
in spite of your best efforts, a couple of sounds may clash. To seperate sound
occupying the same frequency space, add a dash of reverb to one of them. This
will appear further back in the mix and seperate it from the other sound.
37 Not an EQ trick #2
Another trick to seperate sounds is based on the fact that if our ears hear
two sounds of equal volume, if one starts slightly before the other it will
seem louder. You can, therefore, try bringing one of the sounds forward in the
track by a few ticks. Try this if bass and kick drum are clashing, for example.
38 Be normal
Equalize at normal listening levels, not club levels, that is, unless you are
mixing a club song. In which case, mix at club level, but don't be surprised
if it sounds different when played at lower volumes.
39 OTT EQ
Bright is in! You may prefer a natural sound for acoustic instruments, but heavy
EQ on synths and loops can work well.
Bass/Kick 50-100hz bottom end, 6-8k presence
Snare- 60-130hz body, 6-8khz presence
HiHat- 1-8khz presence
Bass- 50-100hz body, 500-800hz punch, 1-6khz presence
Guitar- 100-250hz body, 5-8khz presence
Strings 60-100hz bottom end, 100-250hz body, 5-8khz presence
Brass- 100-250hz body, 750hz-1khz fullness, 6-12 khz presence
Piano- 50-100hz bottom end, 100-250hz body, 1-4khz top end
Vocals- 100-250hz body 3-5khz presence
-----
thanks to Music Tech magazine!