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Passeq Analog Code
®
Plug-in
In the arenas of recording and mixing one can generally distinguish
between two main goals in applying EQ: The first is sound correc-
tion, or sound design through processing of individual channels
while the second may be improving their separation or presence
in the mix. In the overall recording process there may be deficien-
cies due to technical problems, for example, noise or bleeding
of neighboring instrument sounds that detract from the natural
quality of the desired instrument. Through frequency response
characteristics of a microphone or phase shifts due to reflections,
energy at certain frequencies can be reduced or get lost, denigrat-
ing the original sound quality of an instrument. EQ is probably the
most important tool to combat these problem areas. Moreover, an
instrument‘s sound can also be accentuated or emphasized—to
the point that this becomes in its own right a creative sonic activity
with a production made only possible by the employment of EQs
and their special characteristics.
Basic Approach
While we would never assume that in creative and artistic work
there should be absolute rules, and this also applies to work with
EQ: There is no such thing as “The Voice” or “The Kick Drum” or
“The Piano”. The following is thus offered strictly as a basic ori-
entation or starting point for such work, and should not be mis-
construed as dogma or any other kind of absolute. Nonetheless,
in order to achieve sometimes hard-to-define goals when applying
EQ, it really is important to be aware of and be able to use a few
accepted basic musical and technical guidelines.
EQ Yin & Yang
This section on “EQ Yin & Yang” reproduces thoughts and verbal-
izations by Bob Katz, whose superb Focal Press book based on a
series of lectures entitled, “Mastering audio, the art and the sci-
ence”, we highly recommend. >
Using Equalizers
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