MIX TECHNIQUES - PART 2

Using EQ to Craft Better Mixes

By Brian Stephens

I attended an audio engineering seminar just hours before writing this article. On the panel were four engineers who have mixed several of 2004’s top selling platinum albums. If I included their names in this article, you would easily recognize each one. During the course of the three hour discussion, it was painfully obvious that these guys were desperately trying to hold on to whatever ‘secrets’ they felt they had. (Keep in mind that this was an “educational seminar.”) I walked away incredibly disappointed and feeling as if three hours of my life had been stolen from me. The tips and suggestions made in this series of articles are not voodoo, black magic, or any form of ancient sorcery. Many times, they are simply common sense. Audio engineering, done correctly, is indeed an art form and a skilled trade best practiced by those dedicated to the craft of creating great sounds. But, geez fellas, LIGHTEN UP! - Brian Stephens

Mixing is the art of managing virtual territory. Think of your mix as a sonic landscape. You only have a fixed amount of aural property with numerous things looking to fill that space. Many times, mix issues can be solved with volume and panning. However, there are inevitably those occasions when no amount of volume, panning, or compression will fix issues related to balance between your tracks. This may be the right time to reach for your EQ.

Let me be the first to tell you that I am a staunch advocate of getting the right sounds to tape/disk using the right choice of microphone, mic placement, preamp, and compression. There is no substitute for this skill. But, when in the mixing phase of your project, there are certain ‘nips and tucks’ that are always needed to get all your tracks working harmoniously. In this article, I am going to present a few suggestions that could take your mix from “crowded and muddy” to “clear and rich.” Many are very subtle changes that, when combined with other techniques, will help your mixes sound a lot closer to most commercial recordings. Some of these work in any type of mix while others are earmarked for specific situations. Your ears should always be the final judge.

In last month’s article on compression, I stated that some compressors may introduce sonic coloration to a track while others are fairly transparent. The same holds true for EQ. Universal Audio’s plug-in version of the Pultec EQP-1A Equalizer, found in their UAD-1 card bundle, can provide EQ for both highs and lows while introducing a silky sheen to any track. Many times, I will even strap one across my entire mix and not touch any of the knobs. Just running passively through this plug-in can give your mixes a smoother high end. On the opposite end of the spectrum, I may do some radical EQ’ing on sounds like a Roland 808 kick drum for insane low-end for hip-hop mixes. Try setting the Low Boost to 6, the Low Frequency to either 60 or 100, and the Bandwidth to 5 for starters (see pic. 1).

A common problem on the lower end of the frequency spectrum is “masking” or competition for real estate between the kick drum and bass tracks. One approach I use is to carve a small notch out of the bass track around 250Hz to make room for the kick drum. Using a very narrow “Q”, I pull anywhere from 3-5 dB out of the bass track (see pic. 2). Almost instantly, the kick drum becomes more present and punchy in the mix without having to touch the volume fader. Depending on the exact kick and bass tones, you may have to search to find the exact frequencies that work for your track. When using elongated 808 kick drum sounds, I will often place a high pass / low cut EQ on bass tracks and set the frequency for 60 - 80Hz (see pic 3). This will allow the kick sample to take up the lowest area of the mix and free it from competition with the bass track.

Heavier, Dual Rectifier-style rhythm guitars can often fight the bass guitar for low-end distinction. By placing high pass or low shelving EQs on each rhythm track, each set with frequencies ranging from 150-300 Hz, you can instantly regain the clarity and punch that your bass track demands without retweaking your compressor (see pic 4). Be careful to take out only what is needed. Too much cutting here can make your guitars sound thin and weak. The opposite approach can be used slap/pop-style bass inside heavier rock tracks (ala Korn). Try using your low cut or shelving EQ on the bass track with a frequency setting ranging from 100 - 350 Hz (see pic 5). Having only a percussive attack and little usable low end content, this EQ’ed bass track can then get out of the way of the heavier, D-tuned rhythm guitars that provide the true bottom end of your mix. If the style of bass line changes during the track to long, low notes, automate the EQ to switch itself on and off respective to the bass part.

Another common problem with many mixes is the masking that vocal tracks can have on snare drums. One remedy currently used in hip-hop is to clone the lead vocal track and pan them slightly left and right of center. This instantly makes room for the snare and keeps the appearance of a center panned vocal. For other types of mixes, this may not work as well. Instead, use your high-mid parametric EQ to boost only the frequency range that is being crowded out. Using a very narrow “Q,” boost your EQ amount to l2 dB. Now, sweep the Frequency control between 4K and 6K until you find the exact tone that causes the snare to jump back out into your mix sufficiently (see pic 6). Once you have found that frequency, turn the amount back down to something more reasonable. Anything between 2dB and 6dB should be sufficient.

In closing, we should all strive to get the right sounds and tones during the recording phase of our CD projects. But, making smart EQ choices during mixing can help you achieve just the right balance in your mixes. The ones covered here are only a few of the possibilities. You should not be afraid to experiment with EQ to help carve out property lines for each of your tracks. Surgical adjustments like these can make all the difference in your final mix, taking it from cluttered and congested to clear and defined.

Brian Stephens is a professional drummer, engineer, record producer, and music educator. He is also the Managing Director of Sound Decision Studios in Atlanta, Georgia (www.SoundDecisionStudios.com). He can be contacted via email at Brian@BrianStephens.com