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EQ Techniques for Sound Engineering

The document provides practical assignment notes for an audio masterclass focusing on equalization in music production and sound engineering. It emphasizes the importance of balancing instrument levels and applying EQ effectively, encouraging learners to practice their listening and analysis skills. The notes outline a systematic approach to EQ adjustments, highlighting the complexities of achieving professional standards in sound engineering.

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Enoque Pinheiro
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20 views2 pages

EQ Techniques for Sound Engineering

The document provides practical assignment notes for an audio masterclass focusing on equalization in music production and sound engineering. It emphasizes the importance of balancing instrument levels and applying EQ effectively, encouraging learners to practice their listening and analysis skills. The notes outline a systematic approach to EQ adjustments, highlighting the complexities of achieving professional standards in sound engineering.

Uploaded by

Enoque Pinheiro
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

The Audio Masterclass Music Production and Sound Engineering Course

MODULE 04 PRACTICAL ASSIGNMENT NOTES: Equalization

Refer to the ‘Assignment Notes Audio’ folder

Screen shots of the EQ settings required to fulfil this assignment are available in the
‘View When Module Completed’ folder.

There are two tools that are more important to the sound engineer then any others. First is the
ability to balance the levels of the various instruments of the mix, in recording or live sound. The
second is equalization. Often, complete mixes can be made without using any other tool or
process.

Assessing the relative balance of frequencies of an individual instrument or an entire mix is a skill
that is only learned with much practice. However, the intention of the exercises in this assignment
is to provide a more active means of encouraging the learner to listen, analyze and then
implement their EQ decisions.

Just as musicians take part in regular and extensive aural training to recognize notes, rhythms and
harmonies, a sound engineer would do well to carry out regular practice in assessing EQ balances
and making corrections.

Professional standard

In this exercise, one point of doubt may be where the professional standard lies.

Well, technically, one could consider absolute perfection to be the standard. That would mean that
you could mix the original track and the EQed track together, with one of them inverted in
polarity, and the two would cancel out completely.

This is not humanly possible, and in any case it would require the equalizer that produced the
sample track and the equalizer that was used for the correction to be identical.

There is another standard - could an experienced engineer not be able to hear the difference on a
direct A/B test? (An A/B test is where you can switch instantly from one track to the other, and
back again, as often and as quickly as you like.)

This is also an unrealistic standard. An experienced engineer will immediately pick out the
inevitable very small differences.

So where does the professional standard lie?

The answer to that is to reach a standard where although there may be some differences, they are
so small that no-one is going to worry about them. The A&R manager, the producer and the
musicians probably won't be able to hear anything at all, even on an A/B test.

The engineer will be able to tell on an A/B test, but if presented with one of the versions at
random and asked to say which it is, he'll have to think carefully about it.

How to approach this task

Since it states in the brief that only one band of EQ was used to create the sample tracks, the first
step is to decide which type of EQ to use - low-frequency, mid frequency or high-frequency, and
whether to cut or boost. That should be so straightforward we'll consider it done.

Module 04 Practical Assignment Notes


Let's take the example where a low-frequency EQ has been used. The next steps will be to identify
the frequency, and the amount of gain applied.

The best way to approach this is to set a gain that is easily audible - 12 dB should be enough (or
minus 12 dB if a cut is required).

Then pick out a low frequency instrument that has clearly been affected by the EQ. Sweep the
frequency and try to home in on the point where the effect is similar in the corrected version to
what it sounds like in the sample track.

Lastly, fine-tune the gain.

It must be stressed that this is not a linear process. You don't perform Step 1, Step 2, Step 3 and
it's done. No, you will search for the right frequency, then adjust the gain. Then tune the
frequency more tightly, then return to the gain. First one control, then the other, then repeat as
many times as necessary.

By following this process, gradually the difference between the two tracks will become less and
less.

Similar methods will apply to the high-frequency band.

One additional problem is that LF and HF equalizer sections often have the option of a bell or shelf
curve. 'Bell' means that the EQ is most effective around the center frequency, and tails off on both
sides. 'Shelf' means that frequencies below the center frequency (for the LF band) maintain
whatever degree of cut or boost has been set. This applies similarly to the HF band. To detect this,
you will have to listen carefully to the extremes of the frequency range.

The mid band has the additional complication that there is a Q or bandwidth control (alternative
names for the same thing). It is best to set this to a moderate value, around 1, and fine tune the
frequency and gain as much as possible first. Then start experimenting with the Q control. You'll
probably have to revisit the frequency and gain controls too.

Examples

To get a sense of perspective here are three examples...

Example file: [Link] – the original un-EQed track


Example file: [Link] – quite close to the original
Example file: [Link] – very close to the original, but still not quite there

[Link] is in fact probably close enough. There are few people who would quibble with this.
[Link] is very close indeed and should satisfy everybody.

Summary

Even experienced engineers find this task difficult. Perfection may be attainable in these simple
tasks, but real life EQ uses more bands and can be massively more complex. Even so, the more
one listens closely to the effects of EQ, the better one will become in this art.

End of assignment notes.

Module 04 Practical Assignment Notes

Common questions

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Regular practice in EQ balance assessment benefits a sound engineer by enhancing their ability to discern minute differences in frequency balances and implement effective corrections. This continuous aural training helps them develop a refined ear for tonal quality, similar to how musicians develop their musical skills, leading to improved proficiency in crafting professional sound mixes that meet industry standards. Without regular practice, an engineer might not recognize or effectively manage the subtle imperfections in a mix .

Sound engineers face challenges in fine-tuning equalization settings such as accurately identifying the frequency and amount of gain needed, and the dynamic, non-linear nature of the process which requires iterative adjustments. They also need to choose between bell and shelf curves for LF and HF EQs, and appropriately set the Q factor in the mid band. To address these challenges, engineers should continuously adjust and listen iteratively, adjusting settings multiple times to gradually reduce differences between tracks. Building experience through practice and careful listening helps in mastering EQ adjustments .

The choice between bell and shelf curves in EQ settings affects how frequencies are adjusted in the low and high-frequency bands. A bell curve is most effective around the center frequency and tapers off at the sides, which is useful for targeting specific problematic frequencies without affecting the surrounding frequencies too much. A shelf curve maintains a consistent degree of cut or boost across all frequencies below (in the low-frequency band) or above (in the high-frequency band) the center frequency, making it suitable for more general tonal balance adjustments in those frequency ranges .

The 'Q' or bandwidth control in EQ adjustments determines the range of frequencies affected by the EQ setting. A higher Q means a narrower range is affected, which allows for more precise targeting of problem frequencies or enhancements. This is crucial in mid-frequency bands where adjustments can significantly alter the tonal balance and clarity. Properly setting the Q can enhance the overall audio quality by eliminating unnecessary frequency interference, thus optimizing the clarity and richness of sound. However, incorrect settings can lead to unnatural or hollow-sounding audio .

The recommended process for determining frequency and gain settings for a low-frequency EQ involves setting an audible gain level, like 12 dB, and then methodically sweeping the frequency to match the effect heard in the sample track. This iterative approach, where one must continuously adjust and fine-tune both frequency and gain settings, is emphasized as non-linear, requiring repeated adjustments. This process helps engineers focus on the nuances of sound and ensure the closest matching output to the target sample, thereby achieving more accurate and reliable EQ adjustments in low-frequency ranges .

For mid-frequency EQ settings, it is advised to first set the Q factor to a moderate value, around 1, and focus on fine-tuning frequency and gain as much as possible before experimenting further with the Q control. Precision in mid-frequency adjustments is important because these frequencies often carry crucial elements of the audio such as vocal authenticity or instrumental clarity. Incorrect adjustments can easily lead to unpleasant audio artefacts or loss of detail, making it essential to carefully hone these settings to achieve a natural and balanced sound .

The two most essential tools for a sound engineer are the ability to balance levels of various instruments and equalization. Balancing levels is crucial because it ensures that no instrument dominates the mix unless desired, creating a harmonious sound. Equalization is essential as it helps correct or enhance the tonal quality of the individual instruments and the overall mix, making the sound more pleasing and professional .

The professional standard of equalization is defined by producing differences so small that they are irrelevant to most listeners, including A&R managers, producers, and musicians. While an engineer might notice slight differences on an A/B test, they should be subtle enough that identifying them requires careful thought. This standard guides sound engineers by setting a realistic target for EQ adjustments that focus on minimizing perceptible differences rather than achieving unattainable perfection, thus enabling them to produce high-quality, commercially acceptable sound mixes .

An A/B test in audio engineering refers to a method where one switches instantly between two tracks to determine differences in sound quality. It is important for evaluating EQ application because it allows the engineer to assess whether adjustments are perceptible and whether these changes have improved the mix relative to the original. The goal is to have differences so insignificant that even in a direct comparison, no notable disparity is detected by casual listeners, though an experienced engineer might still pick up very minimal differences .

The EQ task is considered difficult, even for experienced engineers, due to the complexity of achieving near-perfect balance between the original and EQed tracks. This involves mastering various variables such as frequency, gain, and Q factor, and being able to detect and adjust for minute differences in tonal qualities. Additionally, the iterative, non-linear nature of EQ adjustments means that achieving a satisfactory result requires careful listening, continuous trial and error, and a nuanced understanding of audio characteristics—skills that are challenging to perfect in real-world scenarios .

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