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Using Equalization
In most instances, the best way to approach equalization is to think in terms of which
frequency areas you need to attenuate, as opposed to which ones you need to boost.
(Boosting a frequency area also has the effect of boosting the overall signal; too much
EQ boost can actually cause overload—with the accompanying Peak LED warning!)
Be aware of the phenomenon of masking, where loud sounds in one frequency range
obscure softer sounds in the same range; by cutting EQ “notches” in a loud signal, you
can actually make room for a softer one to shine through. And try not to think of EQ as
a miracle worker—no amount of equalization can put a singer in tune or remove the
distortion from an overloaded input signal! The key is to get the signal right in the first
place, by using correct gain structure and mic placement.
Although the specific EQ you will apply to a channel signal is very much a matter of
personal taste, here are a few general suggestions: Boosting the low frequency of
instruments such as bass drums or bass guitar will add warmth and make the sound
“fatter”; conversely, you may want to attenuate the low frequency component of
instruments such as cymbals, high-hats, and shakers so as to “thin” them out. The
mid-range control is particularly effective for vocals—attenuating it can give a vocal
performance more of an “FM-radio” feel and boosting it can help a vocal cut through
dense instrumentation. Be careful not to boost high frequencies too much or you risk
adding hiss to the signal, though just a touch can help add “shimmer” to an acoustic
guitar, ride cymbal, or high-hat.
