1
Approaching EQ and compression
EQ (equalization) and compression can be used in a variety of ways. The traditional approach is to use these processors in a
subtle way so that instruments fit together better in the mix, tame over-dynamic tracks to ‘level them out’ more, and so on.
In terms of getting a good mix, well-balanced levels (between the various drum mic channels, and between the drums and the
other instruments in your song) tend to be more important than EQ or compression. Seasoned mix engineers use heavy amounts
of EQ and compression only as a last resort, usually to fix a poorly-recorded instrument or as a creative effect.
Approaching EQ
When using EQ, cutting rather than boosting can often lead to the same perception of the sound, without eating into headroom.
This doesn’t always seem desirable, but in the context of a mix it often works best. It leads to a cleaner mix - boosting lots of ele-
ments can result in a mess which is more prone to distort.
Another pitfall to avoid is the mistake of constantly EQ-ing in solo mode. Make your EQ adjustments with the rest of the song’s
instruments playing! EQ-ing only makes sense in the context of the rest of the mix! It’s called ‘equalization’ because you’re making
different elements sit together better by restricting their frequency range if they ‘clash’ with each other. What might sound great
solo’d doesn’t always work in the mix - it can often be overbearing in the mix context. If you properly EQ elements in context, indi-
vidual parts can often appear weak while solo’d. Always remember that not everything has to sound huge if you want a powerful
mix.
One basic use of EQ is to cut the low frequencies on sounds that don’t really need it, such as hihats and cymbals. This can result
in a less muddy low end, allowing kicks and toms more space to achieve their impact. It also benefits the rest of your mix too,
beyond the drums.
Approaching compression
It’s a good idea to carefully EQ a sound before it hits a dynamics processor such as a compressor or gate. Unnecessary frequen-
cies can adversely affect how a dynamics processor reacts to the signal.
Compression can be used creatively as well as for ‘functional’ reasons like taming heavily fluctuating dynamics. With the right ap-
proach, creative compression can have a very powerful effect that is commonly heard on commercial recordings.
However, always remember that any compression is in fact making the sound smaller – a compressor ‘squashes’ the dynamics
of a signal so that you can make it louder without clipping. It is incredibly easy to overdo it and completly ruin the sound of the
drums, or make them excessively intrude into the rest of your song.
See section 12:6 for a guide to processing specific parts of the kit.
