1.Think before you touch anything

One of the most common mistakes among beginner producers. They start immediately adding plugins without even listening to the whole song. Don’t’ rush and try to analyze how is the sound and what it needs. Think about how it should sound and which frequencies can be the problems’ cause.

2. Less is always better

You don’t have to equalize everything. Don’t go crazy with those gains unless it is absolutely necessary. Unless we are trying to achieve some kind of artistic effect, we usually want things to sound natural. Extreme cutting or boosting will result in an artificial sound most ears will find strange (even though they don’t know why).

3. Try cutting before boosting

Sometimes when we feel ‘it needs more low end’ our problem is excessive energy in the high-frequency range. Cutting overpowered frequencies a part of the spectrum can cause the sensation or boosting the opposite part.

4. Don’t do everything in solo. Listen in context

This is a rule of thumb. Something can sound okay on its own but don’t fit the mix when the whole song is being played.

You have to SOLO the sound for certain things but remember to listen to everything in context before applying the final adjustments.

5. Q factor too narrow

High Q factors can be useful when we are trying to reduce resonances. However, if we overuse them (especially boosting) can result in an artificial sound. Think that in the natural world something affecting the sound in a very specific area is an uncommon thing, and therefore, our ears will notice something wrong is going on.

Don’t know what is the Q Factor? Check this post to understand equalizers.

6. Filtering against masking

Remember that high and low pass filters are our best weapons against masking and overcrowded mixes.

7. Over equalizing is the most common mistake

I am sure this situation has happened to you. You have some vocals that don’t sound as good as you would like. Then, you start equalizing here and there and you end up using 8 filters, boosting and cutting +6dbs everywhere but you finally achieve something you like. When you come back to the mix the next day with fresh ears you realize it sounds terrible and the original sound is actually better. When you spend to much time playing around with the same sound you can lose the reference of what sounds natural. Our ears adapt to what we are hearing at the moment. Take this into consideration and don’t spend too much time equalizing the same thing. Take a break, go to do another thing and come back after a while.

8. Readjust the balance after equalizing

When we equalize a sound, we alter its loudness. Equalizing can alter the volume balance within your mix. Remember to readjust gains after equalizing, especially if you are making drastic changes.

9. Use the bypass button

Another golden rule. Always check if you are actually improved you mix or you just simply changed it for the worse.

10. Boosting the high-frequency range? Careful with ear fatigue

Excessive energy within the high-frequency range can lead to a hard unpleasant sound. Sound guys, audio technicians, DJs, musicians in general, we are used to spending our in front of loudspeakers and may have less sensitive for high frequencies than normal people. If you also have an excess of acoustic foam around your home studio, you could tend to boost in excess these frequencies.

11. Be subtle. Respect the sound.

Most times, when you don’t use equalize for changing the sound. What you really want is to improve it or correct fine details. This point

12. Improve your recording. Choose better samples.

If you need to equalize drastically in order to ‘fix the sound maybe you are doing something wrong. Try changing the position of the mics, improving your acoustics, setting up thing differently. If you get good takes from the recording stage you won’t have to spend a crazy amount of time mixing. If, instead, you are using samples, try to find samples that already sound the way you like. This may sound silly, but spending some extra time selecting the proper samples is always worth it.

The post Top 12 Tips to Equalize better your Music. EQ Mixing Techniques and Strategies. appeared first on Go Mixing.

Find your song’s musical key or scale

First of all, you need to find the key of your song. You can know the frequencies that correspond to each note, but this is useless if you have no idea about what are the most important notes in the song you are mixing. Experienced musicians and music producers can detect this immediately or just playing a few seconds a keyboard while they are listening to the song. However, if you are new to the music production you may find this difficult, so here there are a few easy ways to find the key of your song.

Check the key signature

Firstly, If you have access to the music sheet (or maybe you are working with a famous song and can just google it “name of the song + sheet music”), you can check the key signature at the beginning of the sheet. If you don’t know anything about music theory, don’t worry just find the ‘symbol’ in this chart and you will have the key of the track you are working with.

Use your DAW’s pitch detector

Most of the recent DAW versions in 2019 includes their own pitch correction or pitch analyzer plugin. You can also use third party plugins like Melodyne or autotune. These plugins will analyze the musical notes a track is playing. You can analyze the vocals or the piano and check the notes on the piano roll. After this, you only have to go to a piano scales chart like this (this website also has a complete piano scales chart) and find out what scale or music key corresponds. 

Use DJ’s software

If you are a music producer, there is a big chance that you also are a DJ or at least have access to  DJ software. Most of these software in their recent versions have a key detector, so it is as simple as loading the file in them.

Use specific plugins like ‘Mixed in Key’

Some plugins manufacturers have brought this technology so common in the DJ’s software to our DAWs. They are made to analyze the musical key of all our audio files.

I don’t recommend getting used to this kind of plugins because they will make your ear ‘lazy’. From my point of view, the best way to go is always a little bit of practice and training. This way, you will be picking the key of any song in seconds. In other words, you won’t have to do any of this!. On the other hand, if you are a complete beginner this kind of tool can help you to take off. 

Note to Frequency Chart

Now you have several ways to guess the key of your song, and therefore, your root note, you need to know which frequency corresponds with that root note. For that purpose, we have the Note to Frequency Chart.

Okay, I know the root note and its frequency now… what?

In the first place, you can use this information to pitch your samples. This will bring a more musical result to your tracks. Moreover, when you are equalising your tracks with low-frequency content!. For instance, imagine you are mixing a Hip-Hop song and you feel that the bass line isn’t defined within the mix. Are you going to boost any random low frequency? No! What you need is to boost the frequency which corresponds with the root note of your song!. Let’s say your track is in Em, you can see in the Note to Frequency chart that the rote note (D2) corresponds with 73Hz. It’s that simple. You can do the same with your Kick, Snare, percussion elements etc.

Do you want to know how to use an EQ? Check this post with everything you need about Equalization in Music 

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So, what’s an Audio Equalizer?

An Equalizer is an audio processor which allows us to change the frequency content in an audio signal. Using an audio equalizer we can change a signal “boosting” or “cutting” decibels in particular frequencies. We normally use equalization when we want to modify the characteristics of our original audio signal, maybe for fixing mistakes during the recording stage, removing noise, or simply to change the tone and the “colour” of our sound according to our artistic criteria.

The Audible Frequency Spectrum

This concept corresponds with the frequency range at which humans can hear and it normally goes from 20Hz to 20.000.Hz. In order to section this range, there is a widely accepted subdivision of it.

Sub-Bass (20-60Hz)

You are more likely to ‘feel’ this sound more than hear it. These are really low frequencies, just a really big subwoofer can play them. Have you never been to a huge music festival and felt your body or chest vibrating? That was the Sub-Bass!. Not many musical instruments enter this frequency range, just some of them with a heavy bass component like a pipe organ.

Bass (60-200Hz)

In this range we can find the ‘body’, ‘fatness’ or ‘deepness’ of many instruments like the bass, double bass, cello, kick, piano etc. It is where fundamental notes of the rhythmic elements generally are.

Low-Mid (200-500Hz)

This is a very conflictive section. We can suffer from many troubles in our mix like the masking (when you can’t distinguish properly the different instruments). This is mainly due to the fact that many instruments have their main frequencies in this range (for example the human voice). It is also very common to have acoustics problems “room modes” within this range of frequencies since the wavelength of these frequencies corresponds with the normal size of a midsize room.

Middle (500-2000Hz)

In this area, we can find the vocal formants and therefore it is not a coincidence that our hearing is very sensitive to this range. We have to be careful when it comes to boosting this specific region since it can cause hearing fatigue.

Want to hear these frequencies? Check this video

Upper-Mid (2000-4000Hz)

Here is where many elements have their ‘punch’. We can also hear the ‘attack’ of the percussive elements. This area presents similar characteristics than the mid-frequency range, so we have to be careful if we don’t want to make an element so sound too ‘sharp’ or cause ear fatigue.

High end (4000 – 10.000Hz)

Also known as the ‘presence’ part of the spectrum. Manipulating this area we can create the illusion that the sound source is further (cutting) or close (busting). You should be cautious boosting these frequencies since it could make the mix sound too ‘harsh’. We can often find the harmonics of most of the instruments spread out around this spot.

Extreme High End (10.000 – 20.000Hz)

Around these frequencies, the signal usually decays and starts losing its strength. Its content is mainly harmonics and high-frequency noises. It is also called ‘the air’ or the ‘brilliance’ of the mixing because it gives us that sparkling or extra space feeling. This ‘air’ or ‘sparkling’ is usually desired in our mix but as with any other high-frequency sound, we have to be prudent with boosting.

Not all the human being have the same audible range. Usually, children have an optimal hearing and we start losing it as we grow. Hearing losing also depends about how caring we are with our ears agains loud noises, infections and different factors along our lives.

Elements of an Audio Music Equalizer

We are going to go through all the elements of a standard audio equalizer using as an example the plugin ‘Estudio EQ’ by Steinberg. This is the Cubase’s native eq plugin but… don’t worry! almost all the equalizers out there have the same parameters and work under the same logic.

As we can see along the horizontal axis the audible frequency range is displayed (20Hz-20KHz). On the vertical axis, we have the amount of gain or decibels we can ‘cut’ or ‘boost’ from a specific frequency (from -30 to +30Db).

Equalizers are formed with filters or ‘bands’ and there are several types. Our Studio EQ has 4 bands and the type of filter can be switched in all of them.

Types of EQ Filters

Low Pass Filter (LPF)

It attenuates the signal content above the cutoff frequency. We normally use them to remove high-frequency noise ‘hissing’ or the high content of an instrument. We can use a HPF to make our sound darker or pretend it is placed further or ‘in a box’.

High Pass Filters (HPF)

It removes or cuts the signal content below the cutoff frequency. HPFs are the most powerful tool when it comes to clean low-frequency noise or ‘humming’. It is quite common to apply HPF to most of the instruments which don’t have a very low-frequency content. Using this technique we can avoid masking problems and our mix will sound clearer in general.

Peak or Bell

Boost or cut the signal’s content around the selected frequency.

Notch Filter

it is mainly a Peak or Bell filter with a really narrow range of action. The most common use for notch filters is to remove resonances. Being drastic with notch filters can result in an artificial sound since it alters the original sign in a noticeable way.

Shelf Filter

Increase or cut the audio signal from the selected frequency to the end of the spectrum with a constant gain. It is quite common that tv or radio manufactures include this type of filters in their products’ music equalizer under the name of “bass” and “treble” (add or remove ‘lows’ or ‘highs’ from the signal).

Parameters of a Filter

• Frequency or cutoff frequency: with this parameter, we can control around which frequency our filter takes action.
• Gain: the number of decibels we want to attenuate or increase in the selected frequency
• Q Factor: this parameter can narrow or widen the affected area around the main frequency. A high Q factor will result in a very narrow filter (notch filter) and a low Q factor will result in a wider filter which affects more signal content. This parameter is more specific for music production purposes and it is normally a fixed value in the most common music equalizer we can find in many popular products.

Different Types of Audio Music Equalizers

Graphic Equalizer

It has all its bands or filters with a fixed frequency. They commonly have multiple sliders or faders to control the gain of each one of these filters. The more bands it has the more accuracy and versatility. However, we should not forget that this will mean a considerable rise in the price. They are more easy-to-use than the other types thanks to their visual support, and therefore, manufacturers include them in many products for the general public such as TVs, radios, hi-fi systems etc.

Parametric Equalizer

In this case, the equalizer counts with peak and shelf filters. It also allows us to use the 3 parameters (EQ, Frequency and Q Factor) in all of its filters. They are the most used equalizers inside the music studios due to their adaptability. Most of the EQ plugins are parametric.

Semi-Parametric Equalizer

They are practically identical to the parametric equalizers, except for the absence of the Q factor in their filters. You can not modify how ‘broad’ or ‘narrow’ are the action areas of each filter.

Active or Passive equalizers

We can also classify equalizers according to the nature of their components. When equalizers have active components they produce more harmonic distortion, emphasizing the odd harmonics (we could say they produce a more artificial and less ‘warm’ sound). They are generally cheaper, resistant and polyvalent, and that’s why we use them in all kinds of audio applications. On the other hand, we have passive equalizers, which are obviously made from passive components like resistances and coils. They are really expensive and fragile but in return of that, they barely generate any harmonic distortion and provide us with a warm cosy sound. You can find passive equalizers in top-notch mastering studios.

Equalization Charts

For audio beginners can be frustrating not to notice the subtle changes a music equalizer can make, or simply be overwhelmed by this amount of information. A good start could be this equalization charts which gives you an idea where the most common instruments have key eq areas. Remember that every sound and mix is different, so you shouldn’t take these frequencies as golden rules but as a starting point to play around.

Any doubt? Leave a comment! – Don’t forget to share if you found this article useful.

Now you know a lot about an audio music equalizer, you want to keep learning? Visit our blog

Alberto Echevarria

Founder of GoMixing.com

Graduated Audio Engineer by the University of Middlesex, London. Master in Recording and Music Production at the University of Stavanger, Norway. Mixing Engineer, Music Producer, Artist and Sound Designer.

The post How to use an Audio Music Equalizer. All you need to know about Equalization in Music. appeared first on Go Mixing.

1. Send only the tracks you want to be in the mix.

Nowadays, the digital domain and technology in general, allow us to record as many takes as we desire, this can often end up in a huge stack of files and a huge headache for the mixing engineer. Picking your favourite takes should be part of the production before the mixing stage starts, and therefore, it is not normally part of the job when you hire a mixing engineering (unless there is a previous agreement for that)

2. Name your tracks appropriately

The best way to go is to try to keep it simple and clean. Short and simple is usually the best way to proceed (Kick, Snare, Lead Vocals, etc.).

3.Organize files by folders

The engineer will appreciate if there is a good organization and the .zip files and folders have easy to understand names. The more time your engineer saves during this organization process the more time he can dedicate to your mixing.

4.Remove effects

Make sure there are no processing effects on the master bus or any other channel; remove eq, compressor and any other plugins. It is always better if you let the mixing engineer work over raw files instead of files which are already processed. However, you should keep creative effects, preferably exported as a separate track (filters, delays etc.)

5. Make sure all the files have the same length

All the files should start at the same time. One of the most important points is to ensure all your files have the same starting point and the same length so they will line up properly when they are imported into another session.

6. Leave headroom. Don’t normalize your tracks

Regarding audio levels, please consider to leave some ‘headroom’ and ensure that no audio channels are peaking or with any kind of undesirable distortion.

7. Export in WAV/AIFF. Forget about mp3

All the tracks should be delivered in a professional lossless audio format (WAV, AIFF) and at least 44.1 KHz sampling rate.

8. Add useful information

Extra Information you should include with your files: Tempo (BPM), Key signature, Your rough mix,

9. Try to provide references and clear instructions

Some times is hard to deal with technical words within the audio world. Your engineer will appreciate if you send him a few references, similar genres’ tracks that you like how the sound. It’s much better if you give him these references and clear instructions than abstract concepts like “I want it to sound deeper”.

10. Check if everything is okay

You don’t want to expend a lot of extra time sending something wrong and doing the whole process again. Remember to verify each song before sending it. This way you can ensure that there is no missing tracks, bad edits, clicks, weird transitions, synchronization’s problems etc.

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