Goal
Use EQ in two distinct passes: corrective (removing what disturbs: rumble, mud, resonances, harshness, masking) and creative (giving each element the timbre suited to its role). Always work in the context of the mix, with the static balance already done.
Step-by-Step Procedure
1. Cleanup (Corrective)
- High-pass on everything that shouldn't carry sub, using the frequencies in the table of the "Equalizer" guide. Slope 12–24 dB/oct.
- Low-pass on elements that don't need air (bass, 808 above 5–8 kHz if there is hiss, distorted guitars at 8–12 kHz, reverb returns at 6–10 kHz).
- Resonances: narrow sweep (+10 dB, Q 6–8), then cut by 3–8 dB; at most 3–4 narrow cuts per track.
- Wide zones: mud 200–400 Hz, boxiness 400–800 Hz, harshness 2–4 kHz, cuts of 1.5–4 dB with Q 1–2.
2. Separation (Corrective in Context)
- Identify the pairs that mask each other: kick/bass, vocal/guitars, vocal/synths, snare/guitars, pad/everything.
- Complementary EQ: where the main instrument has its identity, the secondary one gets a cut of 2–4 dB.
- If the conflict is intermittent: sidechained dynamic EQ (see "Dynamic EQ").
- If the conflict is one of register (two instruments playing the same notes), the solution is the arrangement: a different octave, removing one part, alternating.
3. Character (Creative)
- Wide boosts (Q 0.5–1.2) of 1–3 dB to define the role: kick weight (50–70 Hz), snare body (180–250 Hz), vocal presence (2–5 kHz), air (10–16 kHz), bass definition (700 Hz–1.5 kHz).
- Character EQs (emulated Pultec, API, Neve) for coloring: "musical" boosts are wide and light.
- Creative filters: telephone (band-pass 300 Hz–3 kHz) on intros and bridges, automated LPs for transitions.
- Order relative to compression: corrective first, creative after (or before, if you want the compressor to react to that zone).
4. Overall Balance
- Compare the mix's spectrum with the references at equal loudness.
- Correct out-of-range bands on the responsible tracks, not on the mix bus.
- Check at low volume and in mono.
Target Values
| Check | Value |
|---|---|
| Narrow cuts per track | Maximum 3–4 |
| Creative boosts | 1–3 dB, rarely above 4–5 dB |
| Complementary cuts | 2–4 dB |
| Mix energy per band relative to the references | within ±2 dB |
| Low-mid band (250–500 Hz) | no higher than the Bass band (60–120 Hz) in modern genres |
| Air band (8–16 kHz) | no sibilance peaks beyond 3 dB relative to the average |
| Mix loudness | unchanged within 1 LU after EQ (compensate for boosts) |
Order of Intervention on the Mix Zones
- Below 40 Hz: cleanup (only kick, 808, and sub can live there).
- 60–150 Hz: kick/bass separation.
- 200–500 Hz: mud, the most frequent point of buildup.
- 2–5 kHz: harshness and intelligibility.
- 5–10 kHz: sibilance and harshness.
- 10–16 kHz: air.
Common Mistakes
- EQing in solo: sounds perfect alone and too full in the mix.
- Boosts that raise the volume and fool you: compensate the gain.
- All instruments boosted at 3 kHz: aggressive mix.
- HPs too high everywhere: the mix loses warmth (the sum of 100–250 Hz is missing).
- Fixing a single track's problem on the mix bus.
Starting settings
| Parameter | Value | Why |
|---|---|---|
| HP | EQ guide table, 12–24 dB/oct | Cleaning up useless lows. |
| Narrow corrective cuts | 3–8 dB, Q 6–8, maximum 3–4 per track | Resonances. |
| Wide cuts | 1.5–4 dB, Q 1–2 | Mud and harshness. |
| Creative boosts | 1–3 dB, Q 0.5–1.2 | Character. |
| Complementary | −2/−4 dB on the secondary instrument | Separation. |
| Comparison | At matched volume, in the mix | Correct judgment. |
Frequencies to watch
| Range | What to do |
|---|---|
| 20–40 Hz | Cleanup: HP on everything except kick, 808, sub. |
| 60–150 Hz | Kick/bass separation with complementary cuts of 2–3 dB. |
| 200–500 Hz | Mud: wide cuts of 1.5–4 dB on the instruments that build up. |
| 2–5 kHz | Harshness and intelligibility: make room for the vocal over the instruments. |
| 5–10 kHz | Sibilance and harshness: de-esser and narrow cuts. |
| 10–16 kHz | Air: wide boosts of 1–2 dB on the main elements. |
Example chain
| Step | Tool | Settings | Why |
|---|---|---|---|
| Corrective EQ | Fruity Parametric EQ 2 / Pro-Q | HP, cuts | Cleanup. |
| Compression | Track compressor | Role values | Level. |
| Dynamic EQ | Nova / Pro-Q dynamic | Sidechain for intermittent conflicts | Separation. |
| Creative EQ | Pultec / API / Pro-Q | Wide boosts | Character. |
| Analysis | Analyzer + references | Comparison by band | Balance. |
How to check the result
- Mix energy per band within ±2 dB of the references at equal loudness (Sub, Bass, Low-mid, Mid, Upper-mid, Presence, Air).
- Low-mid band (250–500 Hz) no higher than the Bass band (60–120 Hz) in modern genres; in acoustic genres within 2 dB.
- Ultra-high band (16–20 kHz): present but 10–20 dB below the Air band; total absence indicates excessive LPs.
- Integrated loudness unchanged within 1 LU compared to the static balance.
- Crest factor unchanged within 1 dB (EQ must not change the dynamics).