Sound Performance Lab 2595 manual First control levels, then apply EQ, First cut, then boost

Recommendations on using Equalizers

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 first 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 filters 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 defi- 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 first 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.

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