Passeq Analog Code
®
Plug-in
17
In Chinese philosophy, Yin and Yang describe unconditionally bound
opposites within some kind of unity, which in turn, both comple-
ment and conflict with one other. This idea also provides an insight-
ful analogy to the understanding of the connection between music,
harmony, fundamentals and harmonics. This mutual bond and inter-
action between such opposites creates inevitable and mutual reac-
tions and repercussions in the other whenever something occurs to
one. Here are a few examples:
• A reduction in the lower middle range around 250 Hz can have
a similar effect as an increase in the presence region of 5 kHz.
• Added energy in the very high region (15-20 kHz) can create the
impression of having made the bass and lower mids thinner.
• Adding warmth to a voice will reduce its mix presence.
• Working with EQ and this Yin and Yang principle means ide-
ally to consider always such implied repercussions of work
in one frequency—for example, that in working to enhance
warmth, that one might want to avoid losing presence.
• Harshness in the upper middle to lower high range can be
countered with more than one approach: A harsh trum-
pet section may be improved through a reduction around
6-8 kHz, or with an increase at around 250 Hz. Both of these
measures result in a warmer sound, but the decision of which
to use should depend on which of the two also works best in
the entire mix.
• Moreover, one should never forget how easy it is, while work-
ing intensely with isolated elements of a mix, to fall into the
trap of forgetting how such elements can influence, for better
or worse, the rest of the mix.
First control levels, then apply EQ
Badly adjusted levels often induce us to misuse EQ in misguided
efforts to correct them. As soon as one has the feeling that he or
she needs more that 6 dB in EQ (boost), one should investigate
thoroughly whether or not initial levels have been set properly.
Using Equalizers
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