Mixing Secrets For The Small Studio - Additional Resources

Chapter 11: Equalizing For A Reason

Workflow Demonstration Video

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Audio Files

(To download all WAV examples at once: 100MB ZIP)

  • Unmasking With EQ: To help illustrate the effect of frequency masking, first listen to this small vocal snippet ( Ex11.01: WAV/MP3 play_arrow ), and then listen to how its subjective tone changes when it’s layered with a high-frequency noise signal ( Ex11.02: WAV/MP3 play_arrow ). The vocal signal is no different – it’s just that its upper frequencies are now being masked by the noise source. In order to return the vocal to something like its original tone, I would have to boost its high frequencies by several decibels with EQ, as in this file ( Ex11.03: WAV/MP3 play_arrow ). For a more real-world example, check out my Mix Rescue May 2010 remix, in which equalisation was used primarily for dealing with masking issues ( Ex11.04: WAV/MP3 play_arrow ), and then notice the loss of clarity in this version of the same mix where I’ve bypassed all the EQ plug-ins ( Ex11.05: WAV/MP3 play_arrow ).

  • Pitch-related EQ: In some situations it’s useful to target EQ specifically at the fundamental frequency and harmonics of certain pitches. The most common trouble-shooting application for this is getting rid of electrical mains hum/buzz from a recording such as this guitar part ( Ex11.16: WAV/MP3 play_arrow ) from Mix Rescue February 2007. A series of narrow EQ notches at multiples of the hum’s fundamental frequency (50Hz in Europe, 60Hz in the US) can deal with this problem very effectively ( Ex11.17: WAV/MP3 play_arrow ). A similar approach can be used to reduce the levels of certain pitched notes within a mixed sample, as in this case ( Ex11.18: WAV/MP3 play_arrow ) where five different sets of EQ notches were used to reduce the level of the guitar part relative to the vocal ( Ex11.19: WAV/MP3 play_arrow ). But it’s not just cuts that are useful, because on occasion you want to actually emphasise a signal’s pitched component, as was the case in Mix Rescue May 2011, where an over-fuzzed rhythm guitar part ( Ex11.20: WAV/MP3 play_arrow ) was given more note definition using two sets of four narrow pitch-related EQ peaks ( Ex11.21: WAV/MP3 play_arrow ).

  • Pre-ringing Side-effects Of Linear-phase EQ: Although linear-phase EQ has a lot of benefits, it’s not without some side-effects, most notably the odd pre-ringing effect you can sometimes get when using narrow peaking filters. Compare these two snare recordings from Mix Rescue April 2010, for example, the first processed with traditional minimum-phase EQ ( Ex11.14: WAV/MP3 play_arrow ), and the second with a linear-phase design ( Ex11.15: WAV/MP3 play_arrow ).

  • Affordable EQ Plug-ins: Cockos’s freeware ReaEQWindows logo is a good all-rounder, which I end up using for probably 80 percent of my mix work. (Check out this article for some tips on getting the best out of it.) Melda’s freeware MEqualizerMac logoWindows logo is also good, especially for its ability to control a whole series of harmonically related notches simultaneously (although I find the affordable Toneboosters TB FlxMac logoWindows logo and Voxengo GlissEQMac logoWindows logo plug-ins even better for that specific scenario). For linear-phase applications, the best freeware option I’ve found so far is Voxengo’s graphic equalizer Marvel GEQMac logoWindows logo, but DDMF’s affordable LP10Mac logoWindows logo provides much more flexibility. (Be aware that some freeware plug-ins that say they’re linear phase aren’t actually in reality – you can check for yourself using Voxengo’s freeware CorrelometerMac logoWindows logo.) If you’d like to expand your tonal options, here are some of my favourite freeware ‘character’ EQ plug-ins: Ignite Amps PTEq-XMac logoWindows logo; Kuassa BasiQMac logoWindows logo; LKJB LuftikusMac logoWindows logo; Shattered Glass Audio Code Red FreeMac logoWindows logo & SGA1566Mac logoWindows logo; Sonimus SonEQMac logoWindows logo; Tokyo Dawn TDR VOS SlickEQMac logoWindows logo; Variety Of Sound BaxterEQWindows logo32‑bit & BootEQWindows logo32‑bit; Voxengo Overtone GEQMac logoWindows logo. Other favourite affordable options of mine include: Sonimus SonEQ ProMac logoWindows logo & StonEQ 4kMac logoWindows logo, and Stillwell Audio Vibe EQMac logoWindows logo.

  • Advanced Equalization Tools: A number of next-generation EQ-based mixing tools are discussed in Section 11.4. For unusual filter types, try DDMF IIEQProMac logoWindows logo, Melda MFreeformEqualizerMac logoWindows logo, or Toneboosters TB FlxMac logoWindows logo. Sound Radix SurferEQMac logoWindows logo has some weird filter shapes too, but more importantly offers both pitch-tracking and MIDI-triggered EQ functions. For EQ-matching, check out Melda’s MAutoEqualizerMac logoWindows logo. Plug-ins such as Sonible Entropy EQMac logoWindows logo, Boz Digital TransgressorMac logoWindows logo, and Eventide PhysionMac logoWindows logo allow you to process non-periodic (ie. noisy or transient) elements of a sound independently from its periodic (ie. pitched) elements.

  • Affordable Spectrum-analysis Plug-ins: Voxengo’s freeware SPANMac logoWindows logo and Melda’s freeware MAnalyzerMac logoWindows logo both provide more than adequate resolution for identifying and notching resonant frequencies, as does my personal favorite, Schwa’s affordable SchopeMac logoWindows logo

  • On-line Ear Training: Here’s a great little ear-training application: Quiztones. What’s great about it is that it doesn’t just use sinewave tones, but also tests whether you can tell which frequencies different signals have been EQ’d at, which is of much more practical use for mixing purposes.

Further Reading

  • Further Reading: Given that equalisation is such a large part of what mixing is all about, there’s something to learn from most Mix Rescue remixes about it. However, Mix Rescue August 2009 and Mix Rescue May 2010 provide a good overview of what balance equalisation typically entails, while Mix Rescue July 2010 and Mix Rescue February 2009 focus on the important distinction between ‘technical’ balance EQ and more creative ‘tonal’ EQ.
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