EQ and Compression Day 1

Introduction
Mixing equalization separates itself from the creative sound design type equalization in
that it is often more subtle. The idea is more focused on how an element, part, or track
not only sounds good to itself but mainly how the frequencies of that track or part sit
within the context of the entire song.

As much as we will deal with subtleties, it is many tracks of subtleties that combine to
create a finished sounding mix. The broad sound design stuff while creating is much
easier than the few dB’s here and there of sound-shaping that pulls together a song and
creates a cohesive listening experience. One that sounds warm and comforting, lacking
harsh aggressive elements with a pleasing and soft but bright high end all with a rich yet
defined and clear low end. Conceptually, this desired end result transcends genre.

Calibrate your listening Environment

Sonarworks
Sonarworks is a room measurement and room correction software that is essential for
almost anybody mixing in almost any environment. You start by using a microphone to
measure the room (via their guided app) to figure out the frequency response of your
room. After you’ve got the room measurement, you just turn Sonarworks on and let it
do its thing – correct the room with an inverse curve.

Additionally, Sonarworks has also measured hundreds of headphones which allows you
to “flatten” your headphones. So even if relegated to working in headphones you can
have a calibrated listening environment. Genius!

One thing to keep in mind is that as we move into making decisions about volume,
sound field placement and dynamics, eq, and so on we want to set ourselves up to
make the best decisions we can.

Here is my Room before and after calibration in Sonarworks Reference 4

Monitoring Levels
Based on the research we know the ear and brain and interpret the flattest frequency
response at a moderately loud level, too loud or too low we hear and interpret
frequencies differently. This is directly related to applying EQ as well as track levels.
When listening to loud - we mix the light in the midrange
When listening to low - we mix heavy in the low end

Before making any adjustments to volume/gain on individual tracks use an SPL meter
to set a listening level averaging about 75 - 77 dB SPL.

Looking at the chart below you see that an average bedroom studio listening level
would be closer to 74 dB SPL. I have found a nice comfortable 77 works good for me in
a small treated room about 1200 cu ft.

I researched quite a bit a few years ago and two of the most accurate smartphone
meters are:

iOS
SPLnFFT (​deep detail on web site​) (​App Store link​) $3.99
SLA Lite (or full version) (​web site detail​) (​App Store Link​) Lite is free - full $5.99

Android
Sound Meter (by abc apps) (​App Store link​)
Here’s a small bit of a larger article comparing the accuracy of many smartphone SPL
meter apps and what lead me to those choices. (​full article here​)

“SLA Lite andSPLnFFT should be utilized due to their ability to measure with
less variability around the mean noise level. In fact, SLA Lite was the only app
accurate to within ±2 dB(A) across all of the reference conditions –
background, 50, 70 and 90 dB(A) – even though other apps such as SPLnFFT
(iOS) and Sound Meter (Android) performed relatively well.”

Using EQ
EQ’s are not all that difficult to use and I would argue, EQ is the tool you are most
familiar with.

There are several categories of practical eq usage.

Overall tonal shaping or shifting
Sculpting the parts to sound their best individually and as a whole
+ where we spend the majority of our time
Low-end cleanup
Low-end balancing act

Setting A Frequency Destination

Reference tracks help us parse the necessary adjustments across various instruments,
parts, tracks, and elements giving us a destination we can more easily navigate to
frequency wise. Understanding EQ and various pitfalls, tips and what not is only as
good as how close we can get to our frequency destination so as we explore the various
EQ usage to shape the tone or frequency of our individual parts we will rely on the
roadmap provided by our level matched and ready to use reference tracks.

Removal Approach and Mindset

Overall we first take a removal approach to EQ known as subtractive EQ. The technical
reason behind this refers to how EQ’s work and the effect on the phase alignment of
frequencies around the one you are adding or removing gain to or from.

The theory is that removing gain from a frequency area has a less detrimental effect on
the surrounding frequencies therefore it is a more natural sounding approach to
shaping the frequencies.
Wanting to address a frequency change of a particular sound has a few ideas based
around how you hear it relating to what you want it to sound like in the end.
If you listen and think I want less of this frequency area
1. Remove accordingly
If you listen and think I want more of this frequency area
1. What do I need to remove to achieve what I want more of

Focus on and shoot for removing unwanted areas first, but if enhancing a certain range
is what’s needed then, do what ya gotta do.

When adding to frequency areas using wider Q’s or even Shelving EQ Bands can do so in
a less detrimental way.

Basic EQ Workflow
In all of the categories of EQ and all of the applying, we use this technique with a focus
on LISTENING along the way.

1. Listen to the track in context, un soloed, and then MUTE.

this helps make sure it is the one we need to eq in some way
2. Solo and listen to the track
try and decipher what it is about it we need to address
(with and without the spectrum analyzer)
Don’t let your eyes fool you
3. Find the trouble area
select a filter choice near where you think is the problem area
add about 8 -14 dB’s gain
narrow the eq bandwidth around a Q of around 10 or 12
using a too narrow of eq width = any frequency sounds horrible
sweep the eq around where we think the problem is to find it
4. Do whatever we felt it needed in that area
start by widening the Q to accommodate
then either add or remove in that area (mostly remove First!)
5. Un-Solo and play with the adjustment making sure it’s what you want
Add more gain move the frequency around - mess with it a bit to verify
6. Bypass the EQ, either as a whole or one band at a time
LISTEN for the result
confirm you’ve made it more as you desire
Solo and In Context Listening
Be mindful of solo and un solo listening and evaluating so as to not only listen and
adjust in solo. Many times doing steps 4 and 5 both while soloing the track and when
not soloed and importantly bypassing the frequency both in solo and in context or
un-soloed. This gives some good insight into the part this particular eq choice would
play in the whole song.

We use SOLO for finding eq trouble areas but then adjusting in context or un-soloed
AND in solo, not JUST in solo.

It can even be useful to find the frequencies needing an adjustment in context or

un-soloed, listening to the entire project and making subtle changes, adjusting eq’s.
This can really help dial an individual part and its frequencies in a direct relationship to
the rest of the elements presenting a more relevant impact of the EQ changes
themselves

** ​ Listeners will not hear your parts in solo. so it doesn’t matter if when soloed it
sounds good. The part needs to sound good IN the mix.

Spectrum Analyzers
While applying EQ, use your ears and ALSO using the spectrum analyzer. Let me
reiterate the power of listening and not just looking at the spectrum analyzers as often
our visual representation of the spectrum can cloud our listening and resulting
judgment.

EQ, Frequency concepts, terms, and tips

** These controls and terms will allow you to work with just about any EQ
Frequency​ - around where the eq band is going to work
Q​ - how wide or narrow around the desired frequency
Adapt Q - M ​ ore gain = Narrower Q (often found on analog EQ’s
Gain​ - how much will be taken away or added to the desired frequency range
Shelf​ - gentel arching eq band covering a larger frequency area
Q control on a shelf​ - adjusts the slope of the shelf
Low Shelf​ - adjusts the entire area below the chosen frequency
High Shelf​ - adjusts the entire area above the chosen frequency
* Notice -​the Higher Q on the shelf adjusts the slope or angle of the shelf
Common Areas, Tips and Example Settings
Through the years I’ve found it useful to try and develop a frequency language adopting
some commonly used terminology and applying others relevant to how I hear certain
frequency ranges or areas, nonetheless, the concepts and tips surrounding a few
common areas check out. Over 20 years of mixing music and preparing workshops
combined to encourage me to evaluate some eq commonalities, uncovering frequency
areas I seemed to spend a lot of time in while trying to obtain the desired sounding mix.

Here are some concepts, ideas, and tips spanning the frequency range.

1. Sub 100 Hz Frequencies

I hear and describe as boomy - especially when too much below 50Hz
*** We remove from all things that are not supposed to be here
Like the VIP room and only those invited can stay
Low end frequencies are long and occupy a lot of space
extra little bits down there from other elements build up
creates a cloudy, non defined low end
*TIP for adding bottom to those elements we want there**
Shelf up a couple dB’s up to accentuate if needed
Add about 2 to 5 dB of gain via shelf from about 90Hz
Add High Pass Filter so as to not add too much below 50Hz
12dB slope at about 50Hz
This puts the focus of the low end between 50Hz and 100Hz
2. 160 Hz
Often times a bit too punchy on kick and bass
Low end can sound fuller and rounder will a little dip here
Remove a few dB (-3 to -6) around 160Hz
With a fairly narrow band q setting like 5-8

3. 200 - 400 Hz
Full ness and warm, can be heard as wooly or thick and dark sounding
Warmth is nice but when over a lot of instruments it doesn’t work so well
Usually much thinner in this range when we listen to reference tracks
We like the warmth here it easily can get overwhelming
Resulting in a cloudy / muddy mix
Frequency around 200-400, Q of around 2 or so and a few dB removal
4. 500 - 700 Hz
Honky is what it sounds like to me when there is too much in this range
EQ settings similar to above
adjusting the frequency to address what is needed to remove

5. 2 kHz - 4.5 kHz

Harsh lives here - Sounds like
Dips often used to smooth out and open up the top end creating a softer tone
EQ settings similar to above
adjusting the frequency to address what is needed to remove
6. 7.5 kHz
Sounds both pointy AND Harsh
Tape softened this area
thus made thickness below and smooth brightness above
Removal around here has a similar effect when listening to the result,
brighter less harsh high end
warmer low end
EQ settings similar to above but often a bit more narrow Q
adjusting the frequency to address what is needed to remove

7. 9.5 kHz (also 6.3kHz ish)

Upper hats and snares sound whistlely (I made that up)
have a whistle like tone when to much
EQ settings similar to 7.5 k range often a narrow Q
adjusting the frequency to address what is needed to remove
8. Above 16kHz
I hear a sound that seems like a pan of sizzling bacon
Watch out cause it helps individual sounds sound open and bright
but can get in the way when too much is there spanning several tracks
EQ settings similar to 7.5 k range often a narrow Q
Ofte can also be addressed via high shelving eq or a low pass filter

Above 16 kHz or 17 kHz, we also can notice a smoothing effect and clarity achieved
when low pass filtering gently (6db slope) applying to several elements that seemed to
have a Fizzy or Sizzly sound. WHen needed removing in this area has a very pleasing
effect in a bright but soft high-end result. A 6dB slope could be found in a third party EQ.