To make reading and navigating the articles bit more comfortable, I will keep every article in this Series split into the following parts: # Intro # Theory # Studio Practices # Selected Free Tools.<\/p>\n
#INTRO<\/h4>\n
I\u2019ve been meeting standard EQ classifications and descriptions (graphic, parametric, etc.) a thousand times here and there but never meet a detailed kind-of-application guide on what EQ design to use for what. One day I got lucky finally (fighting my seemed-to-be-never-ending-low-end-battle) re-reading one of the manuals (from Sonimus) and meeting the advice to try SonEQ on kick as its unique EQ design allows simultaneous boost and attenuation of the lows that brings a unique degree of sonic tweakability\u2026 Having tried that I got VERY impressed by the results and realised that knowing the manuals of my EQs in-and-out is MUST for those who wanna master the mixing tech professionally.<\/p>\n
I\u2019ve always been a \u201creading-the-manual-guy \u201c\u2014 but guess you agree\u200a\u2014\u200a learning mixing means hundreds of nuances to grasp so you may miss important things easily especially when you go self-educated\u2026<\/p>\n
At the end of the day, having read hundreds of pages on top of the thousands already read and spending extra time for testing and tweaking versatile commercial and free EQs I\u2019ve compiled a kind of \u201cfunctional EQ\u201d overview I\u2019d like to share but let\u2019s dig some tech theory prior to that.<\/p>\n
#THEORY:<\/h4>\n
Rod Elliot from Elliott Sound Products: \u201cEqualization (EQ) is one of the most contentious areas of Hi-Fi. For years, it was expected of any preamplifier that it would have (at the minimum) bass and treble controls. There were untold variations of course, but the general scheme that ended up being used by almost all manufacturers was the \u2018Baxandall\u2019 topology, named after its inventor Peter J Baxandall.<\/p>\n
This arrangement is used to this day, but for audio production purposes (as opposed to reproduction\/replay of audio) the equalisation techniques available are far more complex.\u201d<\/h5>\n
![\"Eq-Curves\"](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/Eq-Curves.jpg\")
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WIKI<\/a> on equalizers: \u201cThe most common equalizers in music production are parametric, semi-parametric, graphic, peak, and program equalizers to adjust the timbre of individual instruments and voices by adjusting their frequency content and to fit individual instruments within the overall frequency spectrum of the mix.\u201d <\/em><\/p>\n Following those basic WIKI definitions (even if it misses Hi Pass\/Lo Pass Filters) and with semi-parametric and graphic EQs omitted as being mostly reproduction-related EQs, we have full parametric units being mostly used in sound production studios and that could be further split into sub-categories:<\/p>\n 1. HI-PASS\/ LO-PASS FILTERS:<\/strong> A high-pass filter is a filter that passes higher frequencies well but attenuates lower frequency components. A low-pass filter passes low-frequency components of signals while attenuating higher frequencies. In audio applications these are frequently termed \u201clow cut\u201d and \u201chigh cut\u201d respectively, to emphasize their effect on the original signal.<\/p>\n 2. PEAK \/ BELL EQs<\/strong> (with NOTCH shapes being the negative opposite with max Q values applied as a rule to make very narrow cuts when fighting resonating frequencies): boost\/attenuate at the set frequency (\u201ccenter frequency\u201d) and a band of frequencies next to it<\/p>\n 3. SHELF EQs<\/strong>: boost\/attenuate energy at the set frequency and all audio frequencies above it (a high-frequency self) or all frequencies below it (a low-frequency shelf).<\/p>\n 4. PROGRAM EQ<\/strong>: Program EQ implies for program material, meaning the whole mix. Unlike channel EQ, which are good for sculpting, program EQ are usually designed for overall tone balancing and control<\/p>\n MAJOR Q (bandwidth) DEFINITIONS<\/strong>: 0.667= 2 Octaves (here\u2019s wy we got Live\u2019s default Q set as 0.71), 1.044 = 1 1\/3 Octaves, 1.414 = 1 Octave, 2.871 = 1\/2 Octave<\/p>\n FREQUENCY RANGE WE WORK WITH.<\/strong> As you know 20 Hz\u200a\u2014\u200a20 kHz range considered as an audible range of human hearing (guess you didn\u2019t know that majority of people after 25 years do not hear beyond 16K) and we are most sensitive to 2\u20136K range sounds. The range of special interest for us from mixing perspective is from 100 Hz to 14 K\u200a\u2014\u200aaverage range delivered by cheap multimedia speakers.<\/strong><\/p>\n ISO standard says: SUB<60Hz, BASS>60<260Hz, MID>260 Hz<2K, HI-MID>2K < 6K, HI > 6K<\/p>\n IZOTOPE engineers go for: LOW END < 125 Hz, LO-MID >125<500 Hz, MID >500<2K, HI-MID >2<8K<\/p>\n RICK SNOMAN (\u201cDance Music Production\u201d title\u2019s author) votes for: SUB <50 Hz, BASS>50<250 Hz, MID MUD > 250 < 800 Hz, TRUE MID > 800 < 5 K, HI >5 < 8K, HI-HI > 8 K (I\u2019M BIG \u201cMID MUD\u201d FAN)<\/p>\n Whatever concept you choose, I do recommend you staying with notes\/octaves logic, not frequency digits (guess you know that Live\u2019s Spectrum has 2 major modes\u200a\u2014\u200aLog Scale and Octaves, so make a proper use of it).<\/p>\n These are some major theoretical inputs to understand the general \u201cEQ picture\u201d a bit better. Again, as practice makes perfect let\u2019s recollect\u200a\u2014\u200awhat do we use equalization for? I would underline two major areas standing out both historically and by functionality:<\/p>\n Some good advices from Recording Engineers\u2019 Quaterly on practical applications of PEAK and SHELF curves below:<\/p>\n Equalization is all too often misused to compensate for poor levels. If you find yourself trying to boost > 6 dB, investigate the case to check if readjustment of levels could help, reducing the amount of boost at the equalizer.<\/p><\/blockquote>\n Training hint:<\/strong> I recommend to someone new to use the \u201c6 dB rule\u201d\u200a – \u200aNever, while recording or mixing, boost more than 6 dB with the equalizer, period. At least for the first 50 mixes you do\u201d.<\/p>\n 1. Stability of your DAW is a top priority, be it you doing studio tasks only of performing LIVE in the future. Believe the guy having more than 300 letters from Ableton Headquarters technicians in his inbox, surviving dozens and dozens and dozens of crashes through the years (yep, with legit software). What\u2019s the point here? Well\u200a\u2014\u200ain 90\u201395% of the cases the crashes have been caused by 3rd party VSTs.<\/p>\n 2. Having gained tons of negative experience I\u2019m staying with EQ3 and EQ8 as leading workhorses, provided that fantastic 9.5 improvements make the mixing routine more and more comfortable (SVF filters, fantastic multi-sized spectrum window added on top of his 8 Bands, Adaptive Q and Oversampling options just making me nuts). For the majority of the tasks I\u2019m keeping them both in No-Flat, No-Oversampling modes with EQ8 Spectrum switched off by Default, but when used on Groups\/Busses with lots of MID\/HI content\u200a\u2014\u200aI activate Oversampling (2x) and it does sound more natural that way burdening CPU bit heavier that\u2019s pretty fair.<\/p>\n 3. Still there are tools I\u2019ve been lucky to pick up on the way with some truly unique sonic characteristics Live could hardly beat at present (even if could emulate some of them like TILT EQ curves nicely) so these are the guys selected and kept in my VST folder (with some deleted and re-installed again in a while as it really takes some effort to reveal their capabilities)\u200a\u2014\u200aI describe them in details in # SELECTED FREE TOOLS section.<\/p>\n 4 From ROUTING point of view I split my EQs into the following sub-groups (guess it\u2019s clear that in 99% of the cases we go inserts, even if BARK of THE DOG got dry\/wet knob):<\/p>\n – CHANNEL EQs > vast array of sculpting tasks 5. As already mentioned, even if we should be mostly cutting, nothing should keep you from boost experiments. Bear in mind though, that the second section of that rule says that we boost wide and cut narrow. Remember to keep an eye open on Gain section of your EQs before and after equalization not to make the change in apparent loudness fool you\u200a\u2014\u200aas normally our ears perceive the louder signal as \u201cbetter\u201d (Free G meter inserted after the EQ will help you to stay unbiased).<\/p>\n We will be talking about the Universe of compressors in the next article, but as it\u2019s tightly interconnected I will put it here: Whatever the point of views may be I do recommend you to follow this route:<\/p>\n <\/center><\/p>\n Soft Hi-Pass\/Lo-Pass filter: bx_cleansweep<\/a> (with its proprietary algorithms providing smooth 6 dB slopes that compliment 12- 24dB\/48dB slopes of EQ3 & EQ8 nicely)<\/p>\n Resonant Hi-pass filter with a twist: Bark Of A Dog<\/a> By Boz Digital Labs (yep I know that we may get this kind of performance with EQ8) but just look through the Users feedback, and believe me, this team knows their job just freaking well.<\/p>\n A quote: The description of this plugin as \u201c\u2026 a way to boost the low end while still keeping it under control\u201d is exactly how this plugin works. But the description sells itself very short as to the it\u2019s incredible usefulness with it\u2019s simplistic elegance and it\u2019s smooth yet tight character. I tried it initially simply as a matter of curiosity. Now I have this plugin on almost every channel be it for the Mix or the Master. So when you need an EQ to accent the kick fundamental keeping the levels under control with proper amount of fullness added – look no further.<\/p>\n SonEQ<\/a> by Sonimus \u200a\u2014\u200aconsidered to be the best free PULTEQ emulation on themarket. PULTEQ EQs are program EQs based on Pultec EQP-1A concept \u2014its ability to boost and cut adjacent frequencies simultaneously, thereby creating a resonant shelf. Still rather than emulating any specific piece of hardware, it\u2019s inspired by elements of a few classic EQs, bringing them together, Frankenstein-style, in one interface.The models in question are the Pultec EQP-1A, Manley Massive Passive, API 550B and Neve 1073. And it seems that Mike Senior – hasn\u2019t been charging for writing a feedback on SoneqPro after spending some time with free Soneq Free: but paid kinda 50 bucks and purchase it instead. Read more<\/a>.<\/p>\n Tilt EQs\u200a – even if some say that the concept has been introduced by mistake and nearly nobody remembers and uses it\u200a – \u200aI do recommend you to try it. It\u2019s a very nice emulation created by SIDEBRAIN<\/a> (I took M\/S chains out to simplify the rack a bit). It reminds of a Shelf EQ to certain extent but with a twist, Tilt EQ attenuate when gently boosting simultaneously, it\u2019s like 2 shelf EQ working in the opposite directions (very smooth slopes here 3\u20136 dB per Octave but in some cases it may be 1dB(!) only when it gently boosts.<\/p>\n It has a lot of common with Shelf EQs, but just try in on low-wide-range stereo pads, synths or leads and you will feel the difference (Softube charges 99 USD for their Tonelux TILT EQ that means it\u2019s value is identical to the Cytomic\u2019s GLUE)<\/p>\n Baxandall EQs – originally designed by legendary Peter Baxandall, these are the world\u2019s most popular EQ curves for a reason: they are able to improve the sound of anything you throw at them. At the heart of this stereo unit are gently sweeping treble and bass EQ shelves (the Baxandall Curves)<\/strong> that give you subtle yet profound control over wide sections of the spectrum. The opposite of a surgical tool, the basiQ<\/a> is all about sweetening sounds with broad, musical adjustments.<\/p>\n Voxengo Marvel GEQ<\/a> (even if it\u2019s graphic) + you may also try Voxengo Overtone GEQ<\/a> (with harmonic enhancer on board).<\/p>\n![\"HI](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/HI-PASS-FILTER-EQ-8.jpg\")
12 dB HI PASS FILTER (EQ 8)<\/center><\/p>\n![\"PEAK](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/PEAK-EQ-EQ-8.jpg\")
PEAK EQ (EQ8)<\/center><\/p>\n![\"HI](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/HI-SHELF-EQ-EQ-8.jpg\")
HI SHELF EQ (EQ 8)<\/center><\/p>\nFREQUENCY BANDS. There are multiple approaches to the subject in the industry:<\/h5>\n
![\"Ableton](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/Ableton-Spectrum-Log.jpg\")
SPECTRUM LOG<\/center><\/p>\n![\"Ableton](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/Ableton-Spectrum-Octaves.jpg\")
SPECTRUM OCTAVES<\/center><\/p>\n> AUDIO CORRECTION TASKS (when we CUT\/ATTENUATE)<\/h5>\n
> AUDIO ENHANCEMENT TASKS (when we BOOST)<\/h5>\n
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#SOME STUDIO PRACTICES THAT WORK<\/h4>\n
\n– GROUP\/BUS EQs > multiple functions here\u200a\u2014\u200afrom cutting resonances to extra Mid\/Side tweaking, adding coloration, etc.)
\n– MASTER BUS EQs (obviously it should be used at Mastering stage for fine-tuning of the mix\u2019s tonal balance according to reference tracks we selected)<\/p>\nFIRST WE CUT. THEN WE COMPRESS. ONLY AFTER THAT WE BOOST<\/h5>\n
#SELECTED FREE TOOLS I RECOMMEND TRYING<\/h4>\n
bx_cleansweep v2<\/h5>\n
![\"bx_cleansweep](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/bx-cleansweep.jpg\")
<\/center><\/p>\nBark Of A Dog<\/h5>\n
![\"Bark](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/BARK-OF-A-DOG.jpg\")
<\/center><\/p>\nSonEQ<\/h5>\n
\nIt sounds fantastic on drum loops\u2026<\/p>\n![\"SonEQ\"](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/SonEQ.jpg\")
<\/center><\/p>\nTilt EQ<\/h5>\n
![\"Ableton-TILT-EQ\"](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/Ableton-TILT-EQ.jpg\")
<\/p>\nbasiQ<\/h5>\n
Mastering (program) EQs<\/h5>\n
![\"Classic](\"https:\/\/abletunes.com\/blog\/wp-content\/uploads\/2016\/08\/Classic-EQ.jpg\")
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