What is EQ (Equalization)?
- Equalization, or EQ, is the process of adjusting the balance between different frequency
components within an audio signal.
- Purpose is to boost, cut, or maintain certain frequency ranges to shape the tonal balance
of a sound or a mix.
• Enhances clarity and presence
• Fixes problematic frequencies
• Shapes the tone of instruments and vocals
• Creates space in a mix for each element
• Helps avoid frequency masking, where instruments compete for the same space
• Allows for creative sound design
Parameters of EQ
Gain: Determines how much the selected frequencies are boosted or cut
(attenuated).
Center Frequency: Specifies the central frequency around which the boost or cut will
be applied.
Bandwidth (Q): Controls how wide or narrow the boost or cut is, affecting the range
of frequencies that the EQ will modify.
A higher Q value results in a narrower bandwidth, while a lower Q value results in a
wider bandwidth.
Filter Type: Some EQs also offer the option to choose the shape of the filter for the
selected frequency band, such as low-cut, high-cut, low-shelf, high-shelf, notch, and
bell.
Filter Slope:
This parameter sets the steepness of certain filters, similar to the Q control but for
specific filter types like Low Pass, High Pass, Band Pass, Low Shelf or High Shelf
Types of EQ
Graphic EQ:
Fixed frequency bands (typically 6 to 31 bands) with sliders for gain control.
Often used in live sound settings and for room correction.
Parametric EQ:
Provides adjustable parameters like frequency, gain, and bandwidth (Q).
Offers more precision and flexibility.
Commonly used in digital audio workstations (DAWs).
Semi-Parametric EQ:
Similar to parametric EQ but lacks control over Q or bandwidth.
Often found on analog mixers.
Dynamic EQ:
Combines EQ with compression, adjusting gain at specific frequencies based on input signal
level. Ideal for de-essing or controlling resonances dynamically.
Linear Phase EQ:
Maintains phase alignment across frequencies, useful for mastering but can introduce
latency.
Common EQ Frequency Ranges and
Their Effects
Sub-bass (20–60 Hz): Adds power and rumble. Too much can make mixes muddy.
Bass (60–250 Hz): Warmth and fullness. Important for kick drums, bass guitars, and body of
the mix.
Low Mids (250–500 Hz): Can make a mix sound boxy or muddy. Careful cuts can clean up
clutter.
Mids (500 Hz–2 kHz): Body of most instruments and vocals. Boosting can add presence, but
overuse causes harshness.
Upper Mids (2–4 kHz): Presence and attack. Brings vocals and snares forward in the mix.
Highs (4–6 kHz): Clarity and definition. Overuse can lead to harshness.
Air (6–20 kHz): Sparkle and brightness. Adds openness and shimmer to vocals and cymbals.
6. Tips for Using EQ Effectively
Use subtractive EQ before additive EQ
Cut frequencies to make space rather than boosting
Solo tracks to find problem frequencies, then listen in context
Use high-pass filters to remove unnecessary low end
Sweep with a narrow Q boost to locate problematic frequencies, then cut
Avoid excessive EQing — start with good recordings
Use reference tracks to compare tonal balance
7. Fun Tests to Understand EQ Better
EQ Blind Test: Apply EQ changes to a loop and try to identify which frequencies were
boosted or cut.
Guess the Frequency Game: Use a tone generator to play different frequencies and guess
them by ear. Improve frequency recognition.
EQ Bypass Challenge: Toggle EQ on and off on a track and guess if it’s engaged or not. Helps
build listening accuracy.
Build-a-Sound Activity: Start with a plain waveform (e.g., sine wave or saw wave) and use EQ
to sculpt it into resembling a particular instrument or effect.
Analog EQ
Analog EQ uses physical electrical components like capacitors, resistors, inductors, and
transistors or op-amps to shape sound. These components form filter circuits that boost or
cut certain frequencies.
PULTEC
SSL UVEQ
Characteristics:
Adds subtle harmonic distortion and phase shift that many engineers find musically
pleasing.
Often described as “warm,” “smooth,” or “musical.”
Has fixed curves defined by the hardware design—less flexible but sonically rich.
Example: A Neve 1073 EQ or Pultec EQP-1A.
Digital EQ
Digital EQ processes sound using mathematical algorithms inside your DAW or plugin. It
manipulates the digital representation of audio (a stream of numbers) to boost or cut
frequencies.
Implemented Using:
IIR (Infinite Impulse Response) filters – Simulate analog-style EQs with efficiency.
FIR (Finite Impulse Response) filters – Allow for more precise control and linear-phase EQ.
Characteristics:
Can be extremely precise and surgical.
No added harmonics or coloration unless modeled to do so.
Highly customizable—users can design any kind of EQ curve.
