Sound Performance Lab 2595 manual Recommendations on using Equalizers, EQ Yin & Yang, Passeq

Recommendations on using Equalizers

In the arenas of recording and mixing one can generally distinguish between two main goals in applying EQ: The first 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 deficiencies 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 reflec- 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-define 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 conflict 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 filtering, Tone and Sound”, beginning on page 19). This mutual bond and interaction between such oppo- sites creates inevitable and mutual reactions­ 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 influence, for better or worse, the rest of the mix.

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