Audio Equalization

Secrets of the Master CD - Equalization in Mastering

Rarely in my life I have heard or read that clearly explain something about this. Some dominate those who prefer to remain silent. Others simply refrain to say anything, recognizing the many variables that can occur, depending on the style of music, instruments, arrangements, recording, microphones, etc..

Despite the many variables mentioned above, there are clear patterns to follow, and we will develándolos step by step.

First you have to keep in mind that any type of filter, or equalizer we use, we will always phase issues. For those still not clear what kind of problems are those related to the phases, which will be summarized in cancellations of certain frequencies and at certain times, resulting in improper sound effects of the material. Accordingly, I recommend using as little as possible EQ on each project.

The second is the criterion. It is better, in terms of results, to perceive what frequencies are left over, before you see them missing. I mean, if you feel a song missing frequencies, then we must conclude that what is left over low frequencies, and remove them. Taking these points clear, and we get results.

The equalizer must have Low Pass Filter (LF) and High Pass Filter (HF)

The LF can handle between 30 and 100 Hz depending on the case and how critical is our Q. Usually start cutting at 40 Hz by adjusting the Q via ear, and supported by a sub woofer, and a spectrum analyzer, in the manner indicated by the red line:

The HF as shown in the equalizer, not always take care, since the frequency response of the current digital equipment is dramatically from 20 to 20 kHz. As we shall see in the parser that the court has already made the conversion stage.

As to the midrange and lower middle, two recurring problems in the 200 Hz and 400 Hz

In the 200 Hz generally focuses on bass (an instrument), and is a frequency-consuming voltage without equivalent in loudness. Why we recommend trying attenuate between 3 db with a medium Q, and 6 dB with a narrow Q. You will notice immediately as clean low frequencies, becoming both more depth.

In the 400 Hz concentrates a huge amount of sound energy, resulting from the sum of each instrument. And here we must pay close attention. If not enough care was taken during mixing, resulting from inadequate monitoring. We'll have to get some db at this frequency. If we notice that the song is cleaned, it is because we are on track. But if we find that instead of wiping it loses body, two things can be happening, the first is that we are cutting too many db, and we find a value less critical. And the second is that the song is really lacking in body, then we must increase some db and so we get a more raw sound.

In the middle and upper middle frequencies, we find two problems. Too much "edge" (the one that breaks your eardrum). And excessive sibilance.

The first problem is easy to resolve, simply take about 3 dB with a Q as narrow as possible in the 3.1 khz. And the second is better than when left to the multiband compressor, to act as DeEsser.

High frequencies do not report major problems, however mark a style and a time to your song. As the current trend to reduce the frequency. (Leaving aside the example of Madonna), and some other styles of English sound, that sometimes saturate the high frequencies before compression.

Once the song is heard cleaner than in the beginning, we can continue with the next stage compression.

In conclusion, I make it clear that this is a guide to start having good results. And I recognize that everything is allowed, this is an art and creativity is valued as such.

* Articles written for our Forum .