AUDIO
CURVY CURVES A CURVING : EQ | Bill Gibson
During a performance , the sound operator must make many decisions concerning the use of equalization , levels , panning , effects , and so on . When it comes to equalization , the big picture is what matters . The sonic character of an individual track is almost always secondary to considerations about how the tracks all work together to form a complete mix .
When building a mix , a sound operator should look for channels to turn down before turning channels up . Likewise , when adjusting equalization , the sound operator should look for frequency bands to turn down before turning frequency bands up . In addition , as the sound operator shapes each sound , he or she must be aware of how those sounds fit together with the other sounds in the mix .
COMBINING EQ As you build each sound , always keep in mind that boosts and cuts at specific frequencies accumulate . Boosting the same frequency on several channels at once causes the entire mix level to increase artificially . Even though you might like the individual sound of each instrument , boosting one frequency band constantly causes that band to accumulate , adversely affecting the overall mix level .
For example , if you boost 100 Hz on the kick drum by 6 dB , then boost 100 Hz on the bass guitar by 3 dB , then boost 100 Hz on the synth
Combining EQ Curves : When the same frequency is boosted on several full-range instruments , the mix quickly elevates to an unnecessarily hot level . In addition , the similarly equalized tracks conflict with each other , losing their individual character and personality . Avoid boosting the same frequency range on multiple mix sources .