EQ: shaping vs accomodating vs polishing vs who knows what else
As I deepen the knowledge of my processes, I stumble upon revelations that the usual "speaking brochures" of YouTube and the like rarely discuss.
One has been the different uses you can get out of EQ, depending on the context or intention in which you're using it (I guess this works the same way with all of the tools of the trade).
The usual, conventional explanation of EQ would say something like this: it's selective volume. Each knob allows you to turn the volume up or down for a simple "section" of the sound (the most intuitive way to understand it is thinking of those CD players where you can pump up "bass", middle or "treble" independently -simply slice the sound in thinner slices, and that's it-.
What the explanation leaves out is the things you can do with this sound sculpting tool. So far I've found 3 different ways to use EQ, which belong in different parts of my process:
Shaping EQ: this one is used in the "FX" part of my process. It's about getting the recorded sound to be more similar to the one I have in my head. Here, therefore, EQ acts as a creative, artistic tool.
Accomodating EQ: this one lives in the "Mix" stage. This one is about getting all the tracks to live together peacefully "in the same room". The whole of the audio spectrum has to be shared between all the instruments, and EQ is a big part of doing that (generally cutting frequencies, but also emphasizing others). The other big accommodating tool, that works hand in hand with this one, would be panning.
Polishing EQ: (not a turd, hopefully). This other one in my process belongs in the "Mixing" section too but, unless the previous, is focused on each track individually: the guitar sounds too boomy? Let's fish those ugly frequencies. The voice track could use a bit more air? Let add a high shelf in a strategic area.
I'm sure an audio professional could extend this list to 10-15 more items easily. I'm just a musician trying to make do, and although I'd rather not do this kind of work, it's always gratifying when you relisten a song after all the battles with fresh ears and, who knew, the result sounds way cooler than you remembered. (Another thing is that a lot of poor fellows with no artistic creativity try to make this technical stuff sound way more complicated than it is, as a consolation prize I guess, but that's a different story...)
Announcement: from now on, this blog will be updated only sporadically, on an as-required basis, for announcements of new music or other products...
One has been the different uses you can get out of EQ, depending on the context or intention in which you're using it (I guess this works the same way with all of the tools of the trade).
The usual, conventional explanation of EQ would say something like this: it's selective volume. Each knob allows you to turn the volume up or down for a simple "section" of the sound (the most intuitive way to understand it is thinking of those CD players where you can pump up "bass", middle or "treble" independently -simply slice the sound in thinner slices, and that's it-.
What the explanation leaves out is the things you can do with this sound sculpting tool. So far I've found 3 different ways to use EQ, which belong in different parts of my process:
Shaping EQ: this one is used in the "FX" part of my process. It's about getting the recorded sound to be more similar to the one I have in my head. Here, therefore, EQ acts as a creative, artistic tool.
Accomodating EQ: this one lives in the "Mix" stage. This one is about getting all the tracks to live together peacefully "in the same room". The whole of the audio spectrum has to be shared between all the instruments, and EQ is a big part of doing that (generally cutting frequencies, but also emphasizing others). The other big accommodating tool, that works hand in hand with this one, would be panning.
Polishing EQ: (not a turd, hopefully). This other one in my process belongs in the "Mixing" section too but, unless the previous, is focused on each track individually: the guitar sounds too boomy? Let's fish those ugly frequencies. The voice track could use a bit more air? Let add a high shelf in a strategic area.
I'm sure an audio professional could extend this list to 10-15 more items easily. I'm just a musician trying to make do, and although I'd rather not do this kind of work, it's always gratifying when you relisten a song after all the battles with fresh ears and, who knew, the result sounds way cooler than you remembered. (Another thing is that a lot of poor fellows with no artistic creativity try to make this technical stuff sound way more complicated than it is, as a consolation prize I guess, but that's a different story...)
Announcement: from now on, this blog will be updated only sporadically, on an as-required basis, for announcements of new music or other products...
