Equalization Settings: How To Find The Best And Leave The Rest - PRESONUS STUDIOLIVE 24.4.2 Owner's Manual

8 Tutorials
8.3 Equalizers

8.3.2 Equalization Settings: How to Find the Best and Leave the Rest

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Low Mids (250 Hz to 2 kHz). In general, you will want to emphasize the lower
portion of this range and deemphasize the upper portion. Boosting the range
from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) "honky, " and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or "tinny. "
High Mids (2 kHz to 4 kHz). The attack portion of percussive
and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.
Presence (4 kHz to 6 kHz). This frequency range is partly responsible
for the clarity of a mix and provides a measure of control over the
perception of distance. If you boost this frequency range, the mix will
be perceived as closer to the listener. Attenuating around 5 kHz will
make the mix sound further away but also more transparent.
Brilliance (6 kHz to 16 kHz). While this range controls the
brilliance and clarity of your mix, boosting it too much can cause
some clipping so keep an eye on your main meter.
Included at the end of this section are some general principles to guide
you through the wonderful world of equalization but these are far from
set in stone. So how do you find the best and worst each instrument
has to offer and adjust them accordingly? Here's a quick guide:
• First, solo just the instrument with which you are working. Most engineers start
building their mix with the drums and work from the bottom up (kick, snare,
toms, hi-hat, overheads). Each instrument resonates primarily in a specific
frequency band, so if you are working on your kick-drum mic, start with the
lowest band of the EQ. Tune in the best-sounding low end and move on to the
attack. It is not uncommon to hear an annoying ringing or a "twang" mixed
in with your amazing-sounding low end and perfect attack, so your next
task will be to find that offending frequency and notch it out. Once you are
satisfied with your kick drum, mute it, and move on to the next instrument.
• Taking your time with equalization is well worth the effort. Your mix
will have better separation and more clarity when each instrument's
EQ is set so that it shines through the mix. Additional advice:
• You can only do so much. Not every instrument can or should have a full, rich low
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