There
are various ways to EQ.... physically - by using outboard
gear or your mixer's EQ - or "virtually" -
using s/w plug-ins. There are also different places to be
applying EQ in the recording process - during tracking,
during mixing, and during mastering.
Here are
some guidelines to follow to help narrow down the
when/where.....
The addition of EQ into the signal chain always results
in "some" compromise of the waveform by
introducing phase-shifts (time-based artifacts that can
results in comb-filtering of the waveform) - especially
when boosting frequencies. Cutting frequencies can result
in less of these artifacts, so it is generally advisable
to apply EQ by cutting frequencies you don't want, rather
than boosting the ones you want to enhance - a practice
known as subtractive EQ. The quality of the EQ itself
also dictates the artifacts - cheap EQ gear means more
artifacts, mastering-grade EQ means significantly less
(for comparison, a Weiss EQ-1 used by mastering houses
runs about $5500 US)...
So, using EQ to shape sound is a bit of a compromise -
yes, it changes the signal, but it introduces
"some" small signal degradation.... SO - the
obvious solution is DON'T USE IT --- er, at least, not
until absolutely necessary. "But wait...", you
say, "I NEED it, my guitar/bass/drums don't have
THAT sound..."
Well ok... for line-level instruments such as synths, you
certainly can use EQ to shape the sound.... but for mic'd
sources, it's much better to use mic selection and mic
placement to get the sound you're after, rather than
reaching for the EQ knobs.... for example, don't brighten
an amp by boosting your hi-shelf EQ, change amp settings,
change guitar PUPs, change amps, move that mic closer to
the center of the cone... if you're not getting the sound
you want, maybe you're using the wrong instrument/amp
combination!
Another point to keep in mind - try to get your tracks
sounding the way you want DURING tracking - if the tracks
"to tape" are sounding the way you want them,
then selecting sounds during overdubs become much easier.
And even better, during the MIXING phase, you'll find
your tracks will blend better (since you've already
blended them correctly in the tracking process!) Best
guideline to follow: never "fix it in the
mix" - fix it NOW - move a mic, change the mic,
change the source, move the source, switch rooms. If none
of these work, THEN reach for EQ!
During mixing - if you've done your tracking homework,
there should be less work needed in getting the tracks to
fit, since you've taken so much care during the tracking
process. But very likely, there are still some tweaks
you'd want to make.... I strongly suggest you adopt the
subtractive EQ approach - cut instead of boost. If
there's too little highs, remove some mids or bass to
shape it. This does two things - minimizes phase-related
artifacts, and more importantly, reduces unnecessary
signal level that will eat into your mixer's headroom
(since cutting will reduce the amount of frequency
"space" a waveform will take up.)
The last place for EQ - mastering - this phase of the
production is for polish. Unless there's a need for a
rescue operation, you're going to see very small
applications of EQ - maybe 1-2db at most, applied in a
range of small frequency increments rather than a
cut/boost at a single frequency.... again, a subtractive
EQ strategy is adopted as a preference. Generally, if you
have to add a lot of EQ during mastering, something else
was wrong during the tracking and/or mixing stages -
could be a problem with the room acoustics or your
monitoring chain.......
The other point to remember about mastering - it's
usually beneficial to let someone else's ears judge the
sound of your mix, so it's actually an extremely good
idea to take it outside for mastering.
Of course, it all depends on the seriousness of the
product involved -- if the project is simply for your own
enjoyment and you plan on giving a few copies to some
friends, fine - go the Do-It-Yourself route... if it's a
more serious project to the point of shopping it around
or even selling it outright, DIY mastering
most-definitely will not cut it!
-------------------------------------------------------------------------------------
Bruce
Valeriani is the owner/engineer of Blue Bear Sound in Ottawa, Ontario, Canada.
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