



In my last post we looked at why it is a good idea to cut unwanted frequencies before boosting any desired frequencies, in a process referred to as subtractive equalization. It’s a great starting point and a precursor to this post, so if you haven’t seen it, I suggest you read it first;





https://www.thediyrecordingstudio.com/blog/why-you-should-always-cut-frequencies-when-using-eq-before-you-boost





This week we’re going to look at the second part of this equation, additive EQ. I’ll also introduce a second rule that I think all aspiring engineers should stick to… that you should Boost frequencies with a wide bandwidth or “Q” and cut with a narrow bandwidth. It is something that must be heard as well as seen, so as last time, I will post an accompanying video below.

So why should we cut narrow and boost wide? It all has to do with how we perceive frequencies of sound, and what we consider “Natural” or “Unnatural”. Let’s start with cutting, or Subtractive EQ.

CUT NARROW





When cutting frequencies, it is generally better to start by cutting a frequency with a narrow Q or bandwidth. This is because of 2 reasons;





1. When we cut with a narrow Q, it is harder for the human ear to perceive that something was actually removed, resulting in a more natural sounding corrective EQ.

2. When we cut too wide, the resulting sound can be described as empty, hollow and too unnatural or obvious.









image courtesy of missiononamission.com









The real trick to great EQ is creating space in the mix, without being to obvious. The easiest way to do this is by removing unwanted frequencies with a narrow cut. So how do we find these unwanted frequencies?





THE SWEEP METHOD





The easiest way to find unwanted frequencies is by boosting a frequency range with a narrow Q, then sweep the frequency range looking for anything that pokes out badly or sounds like something you wouldn’t want in the mix.

Take for example a Kick drum. It is a general rule that the frequencies you don’t want in a kick drum are around 300-400Hz. These frequencies, on this particular instrument sound “boxy”. You can sweep the frequency range with a boosted narrow Q until you find the most “boxy” sounding frequency in this range.





One possible option for a drum EQ. Note the wide boost and narrow cut.

Then all you need to do is cut the frequency with the same narrow Q at this point. Easy as.





USE YOUR EARS





It is important to use your ears when doing this type of subtractive EQ. You can solo the track when looking for the frequencies you want to remove. But you should always then add the instrument you are EQing back into the rest of the mix to listen to whether the adjustments you have made are adequate. Have you created more space in the mix? Do things sound clearer? Do things sound too empty? These are all things to take into consideration.





TIME TO BOOST





Once we have removed the unwanted frequencies from respective instruments, it is then a good time to start boosting the frequencies we want more of in our mix. We’ve created space with our subtractive EQ, now we can get musical. And that is the real key to good additive EQ. Being Musical.





I really think this is a part of EQing that is left out of the conversation. When we boost frequencies, depending on the type of EQ plugin we choose, we are actually beginning to add harmonic information that can add fullness, warmth and airiness to our recordings. It all depends on which EQ you choose.





TOOLS OF THE TRADE





I like to think of all the different EQ’s I use as different tools;





API 550A = a hammer that adds punch.

Neve 1073 = a shifter spanner that is all purpose.

SSL Channel strip = a swiss army knife that can be used in any situation.

Pulteq EQP1A = a file than can round out and soften edges.





Every EQ has it’s own distinct sound, EQ curves and things they are good at or typically used for. This took me years to learn as my ears developed, but there is no right or wrong EQ. Even the stock EQ in your DAW can be a valuable tool. But the plugins mentioned above are my usual go to EQ’s.





If I want something transparent, I’ll use the SSL. If I want silky top end on vocal or cymbals I’ll use the Pulteq. If I want punchy mid-range I’ll use the API. If I want smooth lows with a more aggressive highs, I’ll use the Neve. But every time I use these, I’ll be boosting wide. On some, you don’t even have a choice. On the Neve, Pulteq and shelf EQ’s of the API or SSL you have no choice but to boost wide. They were each built that way for a reason. It sounds good.





BREAK THE RULES





No matter what, when it comes to music, there are no true hard and fast rules. Those “boxy” frequencies I mentioned earlier on kick drum? They are all over your favourite 90’s hip-hop albums. There’s always an exception to the rule. The key is to use your ears, use reference tracks and let your ears do the work. In time, your mixes will get there. For a more in depth look at additive EQ I’ve included the video below.





#EQ #eqing #howtoeq #howtomixdrums #howtoeqdrums #thediyrecordingstudio