Welcome to Sage Audio. Today we’re doing an EQ Masterclass
But first, if you have a mix that you need mastered
send it to us at SageAudio.com to receive a free mastered sample of it.
Parametric EQ
Let’s start by covering the eq you’re most likely going to use - a parametric EQ;
with this one in particular you can choose from 9 different filters. These are Bell, low shelf,
high-pass, high-shelf, low-pass, notch, bandpass, tilt shelf, and flat tilt.
The slope of these bands is measured in dB per octave,
and the Q value can typically be made proportional
to the amplitude of the band (notice how the Q changes as I increase the amplitude of the band.)
Various parametric EQs will have different features,
be it analyzers, eq matching, mid-side imaging and more.
Now I’d show you a semi-parametric EQ, but it’s more or less a parametric EQ just with a missing
function. Additionally, sometimes an EQ has both parametric bands and semi-parametric bands.
For example, the Weiss EQ1 is parametric, but the highpass filter
is just about semi-parametric since I can barely control the slope.
Additionally, I’d show you a shelving EQ, but as we covered, shelves can be created using
parametric EQs, so I want to spend more time on info I think will be of real value to you.
Let’s listen to the FabFilter EQ using various filters and Q values.
Natural Sounding EQ vs. Digital
Now that we understand some of the features of a parametric EQ, let’s cover how we can use them
to achieve either natural or unnatural sounds when affecting our signal. Let’s start with the Natural
phase response, which will closely emulate the phase and magnitude of analog equipment.
Then let’s enable proportional Q, and stick with 12dB/Oct or less.
The lower our Q value, the more natural the sound.
For a digital sound, let’s use a low-latency linear phase,
which I’ll cover more in a later section. The we can use higher slopes and Q values to make our EQ
surgical. This may sound aggressive, but it’s helpful when trying to pinpoint frequencies.
Let’s listen to these different settings.
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Should I Use Linear Phase EQ?
Linear Phase EQ is best used to solve specific problems; for example, if you have a parallel
signal that you’re equalizing, but the original isn’t being filtered, use low-latency linear phase
to avoid phase cancellation. Also, if you’re using high-pass filters, it can be helpful.
At high settings it can cause a pre-ringing effect,
but in my opinion concerns about this are often exaggerated.
Personally, I stick to zero-latency,
natural phase, or low-latency phase modes. I find low-latency to be great
when I want as accurate of equalization as possible without affecting transients.
Graphic EQ
Odds are you’re not going to use a graphic EQ in many circumstances,
but let’s cover them regardless - with them you can easily visualize the curve your making.
You typically get fixed bands, but some digital models and emulations
allow for adjustable center frequencies, as well as some distortion features.
For example, Logic’s stock Graphic EQ
which emulates an API lets you introduce harmonic distortion.
Voxengo’s Overtone GEQ also introduces harmonics, but without the ability to control them.
Whether or not you use a graphic EQ will probably come down to preference,
since there’s no real advantage to using one over a parametric or semi-parametric EQ.
Equalizing with a Compressor
Next, let’s talk about some more obscure topics that are important nonetheless - like
how compressors can be used for equalization in multiple ways. The main way is with the attack and
release function - for example, let’s say we’re compressing a strummed acoustic guitar track.
With a quick attack and long release, we’re going to attenuate that initial
transient of the guitar. That transient as you know has a frequency and amplitude,
and when we attenuate it we ultimately change the guitar’s frequency response.
With the long release we’re also going to affect other transients and content in the signal,
again reducing the frequency of the percussive elements of the guitar.
Then we have to consider how a short attack with distort the signal,
adding harmonics which will also affect the guitar’s frequency response.
So in short, a lot more effects are equalizing your signal than you may think.
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Equalizing with a Saturator
The effect a saturator has on the frequency response
is a lot more noticeable than a compressor. Let’s run a sine wave through a saturator
and observe all of the additional content that it creates - as you can imagine,
all of these harmonics have a huge effect on the frequency response.
If we want we can measure the response of Softube’s saturator knob with an analyzer
and see just how drastically it can shift the frequency.
So, it doesn’t matter if you’re making these shifts with an EQ,
or if another processor type is causing them - the changes are happening nonetheless.
Keep this in mind when you’re using various processors.
Let’s listen to this saturator, and pay particular attention to how the frequency changes.
Dynamic EQ or MB Compression?
Dynamic EQ is another important equalizer to be familiar with, but it’s often compared to
a multi-band compressor - so let’s look at the 2 and see what the main differences are.
A dynamic EQ offers more control over the band with more Q and slope values.
Also, it often offers more available bands - for example the Pro Q 3 can have 26 dynamic bands,
whereas the Pro-MB offers 6.
But it lacks some of the traditional dynamic processing elements you’d expect
in a compressor. You mainly get a threshold that’s manual or automatic, and that’s about it.
Conversely the Pro-MB offers attack and release controls,
lookahead, knee, and other functions more closely associated with compressors.
So ultimately what it comes down to is how much control do you want over your
dynamics processing. Do you prioritize pinpoint control over the frequency,
or more control over the compression elements.
If you care more about the first, use dynamic equalization;
if you care more about the latter, use multi-band compression.
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Advanced Mid-Side EQ
Last up let’s talk about mid-side equalization, which is great for combining equalization
with stereo imaging - let’s cover some more advanced topics about it. Specifically, I want to
show how you can dynamically alter your frequency response and image based on an external source.
So say I was mixing a vocal and an instrumental,
and I wanted the instrumental to have specific frequencies dip whenever the vocal was sung.
For my external side chain, I’d insert the vocal.
The I’d create multiple bands and center the bands
on the frequencies I want to cut - then I’d make these bands dynamic.
If I select the band, and go into the dynamic settings, I can click on
an external side-chain icon, which now makes the band’s threshold
measure the external signal or in this case the vocal, rather than the instrumental.
So now my bands are dynamically responding to the vocal. If I want to take this a step farther,
I’ll change the stereo placement of my bands.
For example, I could make one band attenuate the mids, and another the sides.
I know this is a specific example, but I like it because it covers
almost everything we’ve talked about so far - we have our parametric EQ,
we’re affecting our Qs and slopes, we’re using dynamic equalization and mid side equalization.
Furthermore we can use linear phase equalization if desired.
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