Understanding EQ is key to getting a perfect, well-balanced mix, and this month we study the fundamentals of the process
#19
Equalisation (EQ) is one of our most important mixing tools, but it’s important to use it in ways that improve our overall mix, and understanding its various forms can really help with this.
In our first EQ mixing masterclass [issue CM318] we looked at some basic techniques that can help you establish the frequencies you want to EQ, including sweeping, filtering and frequency analysis. If you’ve not read that masterclass, take a few minutes to check it out.
This time around, we move ahead and look at the EQs themselves and how their shapes and behaviours can assist us getting the results we want. Rather than discuss how to EQ specific instruments, we’ll focus on the underlying behaviours, which you can then use for your own decisions.
There are lots of EQ plugins available, and sometimes a basic design can get the job done. However, in this masterclass we’ll need something a bit more flexible, so seek out an EQ plugin that includes peak and shelving shapes as well as high- and low-pass filtering. Ideally all bands should have adjustable Q. If your DAW doesn’t deliver, there are some excellent freebies and we use one in the walkthroughs.
Of course, this does exclude a number of classic analogue emulations, and we’re certainly not ruling these out. In the Pro Tip we look at a few popular designs and what makes them special. Let’s get to it.
Jon Musgrave
Jon is a London-based platinum award winning mixer, producer, composer and club remixer with a diverse CV that spans dance, pop, rock and music for media. He’s also a long term contributor to Computer Music. Jon usually handles final mixdowns, which is why we’ve got him to share some of his pearls of mixing wisdom here
1 As suggested in the intro, a flexible EQ allows you to create a variety of shapes. Here, we’ve loaded up a flexible and free EQ (Melda MEqualizer). This has all the typical shapes you need including peak, shelving and filters all with adjustable Q. There are also some handy extras (notch and band pass) and a frequency analyser.
2 In a typical mix, we expect to use all three main filter shapes (peak, high/low shelves and high-/low-pass filters) with peak shape being the most popular. For a basic peak filter set the Q to 1.0. You’ll see that if you apply 6dB of gain the filter is noticeably affecting an octave either side of the selected frequency.
3 From this point, try lowering the Q. You’ll see the filter gets gradually wider until it affects most of the spectrum. Meanwhile, increasing the Q value creates a narrower filter. Get the Q value above about 10 and you’ll have an extremely sharp peak that’s great for cutting but will impart a
