Equalization Deconstructed: Four Methods to Better Sound

Explore how dynamic, condenser, ribbon, and boundary PCM microphones work, their distinct frequency responses, phantom power needs, proximity effect, and polar patterns.

Explore how room acoustics shape drum sounds by comparing the same microphone and distance across different rooms. See how the recording space makes drums sound noticeably different.

Explore different types of EQ, including high pass and low pass filters, shelving, notch filters, and the parametric Q focus demonstrated in Pro Tools.

Explore the parametric equalizer and its three controls—frequency, gain, and bandwidth (Q)—and contrast wide versus narrow Q for musical versus surgical tone shaping. Understand shelving, filters, and phase for miking.

Explore graphic eqs, where faders visually represent gains across 20 Hz to 20 kHz, allowing live sound engineers to shape low, mid, and high end and visualize the cue curve.

Use a spectrum analyzer as a practical ear-training tool for EQ, identifying sibilance, overtones, and problem areas from 20 Hz to 20 kHz, and guiding targeted moves.

Explore the built-in equalizer in Logic Pro, using high cut/low pass, shelving, and parametric EQ with frequency, Q, and pre/post analyzer for stereo and mid/side processing.

Explore different equalizers in studio, including vintage DSP, SSL graphic parametric, and semi-parametric cues; learn to use high and low pass filters, slope, input, output, and polarity, and bandwidth.

Learn how high pass filters clean the low end and improve mix translation across speaker systems by applying an 80 Hz cutoff with varying slopes.

Analyze your source material and genre to guide mix decisions, then apply high pass filters to preserve the low end for kick drum and bass guitar, removing unnecessary low end.

Apply a high pass filter using Benni Q in Pro Tools, vary the slope from gentle to severe, and dial in the cutoff to remove unwanted low end.

Apply a high pass filter to remove unwanted low end, smoothing the floor tom and preventing boominess, while planning upcoming creative equalization moves to shape the mix.

Explore high pass filters on bass guitar and other instruments, noting guidelines rather than rules. Learn how 100 Hz vs 60 Hz settings create low-end clarity and headroom.

Apply high pass filters to remove unused low frequencies from tracks, freeing headroom and making the kick drum and vocal more audible in the rough mix.

Use subtractive eq to remove unwanted frequencies and preserve headroom, avoiding masking. Understand how fundamental and tambour, overtones, and mic and room factors shape color.

Apply three subtractive EQ methods: use Pro Tools EQ with shelving and parametric cues, isolate frequencies by holding shift and control, and apply the added gain method with narrowed bandwidth.

Apply the Pro Tools EQ as a bandpass filter to clean the mix by cutting mid-range mud, starting with the snare and adjusting Q for a clearer low end.

Use the Span plug-in as a bandpass filter to cut the low-mid around 215 Hz, tightening the drum track and reducing mud, while compression reclaims gain to balance the mix.

Demonstrate subtractive EQ by adding gain. Apply it to drum and overhead tracks with the SSL channel G, tightening bandwidth and starting with careful frequency adjustments to preserve drum power.

Apply the eq to fit method to resolve competing sonic areas between the kick drum and bass guitar, boosting the kick’s fundamental in E while carving space in bass guitar.

Explore equalization to fit vocals and electric guitar by routing guitars to a bus and shaping key bands around 700 and 1.5 for balance and clarity.

Apply precise equalization to fit electric and bass guitars by high-pass filtering the bass, carving low end from electric guitars, and nudging midrange to clear space for vocals.

Boost fundamentals and harmonics to make one or two sounds in the mix big, starting with the kick drum, while keeping other spectral parts from competing.

Apply vocal big-sounding techniques with eq and compression using stock plugins, focusing on midrange fundamentals, balancing the voice with the kick drum, and emphasizing notes to achieve a bigger vocal.

Discover four equalization methods—high pass filters, cutting for clarity (eqm), masking overtones, and ecu—to create room for guitars and vocals and achieve a bigger, clearer mix.