Create Complementary EQ Curves : If you simply use this technique on these two instruments alone , the resultant power and punch in your mixes will increase dramatically . Whereas boosting both the kick and bass guitar at 120 Hz by 6 dB could result in a 12-dB increase in mix level , using the technique described in this illustration could create a more impressive sound while affecting the mix level very little .
rehearsal to look for hot and cold spots .
FITTING THE PUZZLE TOGETHER : CONSCIOUSLY COMBINING EQ An experienced sound operator allocates equalization boosts and cuts across a broad frequency spectrum so the mix ingredients fit neatly together like puzzle pieces . For example , if you need to fill out the kick drum and bass guitar tracks , try boosting the kick slightly at 60 Hz , and then boosting the bass guitar at 120 Hz . With this done , create a dip in each of the two tracks to create a space for the boost in the other . In other words , boost the kick track at 60 Hz , and then cut the kick track at 120 Hz . Next , boost the bass track at 120 Hz , and then cut it slightly at 60 Hz .
Using equalization in this way produces a mix that sounds fuller on each track while the mix level is relatively unaffected . Without the accumulation of equalization boosts , the entire mix is more powerful and will end up sounding much fuller throughout the room .
SEEK AND DESTROY Sometimes you ’ ll run across a sound source
with interesting tone problems . Annoying rings from a snare drum or tom can adversely affect the overall mix impact . An irritating highfrequency edge on certain guitar sounds can ruin the best of mixes .
If you find a problem that needs to be eliminated , try sweeping a narrow peak across the suspected problem area .
• Use a parametric EQ with the narrowest bandwidth selected .
• Create a severe boost .
• Sweep the boost until the problem frequency is most noticeable .
• Cut the selected frequency to eliminate or minimize the problem .
This technique works wonderfully in a controlled environment , such as a recording studio . It also works well in a live sound application , but special care must be taken due to feedback sensitivities as the boost is swept across the band . In a live setting , sweeping a narrow cut until the sound gets better is much less annoying than sweeping a boost , yet it ’ s still effective — and it works even when there ’ s an audience in the room .
FRAME OF REFERENCE Each instrument and voice demands individualized treatment while building the mix . The sound operator must assess every mix ingredient and determine how it can best support the impact , power , and musicality of the performance . The EQ techniques in this article will help you build a high-quality mix ; however , it is completely up to each individual to develop a sense of what high-quality music is . Listening to excellent music is a crucial ingredient in the process of learning to create a great-sounding mix .
Bill Gibson Instructor at The Conservatory of Recording Arts and Sciences ( Gilbert , Arizona ), Berklee College of Music Online ( Boston , MA ), content creator for LinkedIn Learning , and author of more than forty books and videos about live sound and studio recording . Most recent book releases : The Ultimate Live Sound Operator ’ s Handbook , 3rd Edition , and The First 50 Recording Techniques You Should Know to Track Music . He also recently self-published an eBook / Audiobook combo called Stream Great- Sounding Audio : Guide for Streaming Church Services and Other Events .
BillGibsonCourses . com