User Manual
5.0 Tutorials
5.3 Equalizers
AudioBox
™
iOne and iTwo
Owner’s Manual
41
5.3.2 Equalization Settings: How to Find the Best and Leave the Rest
How do you nd the best and worst each instrument has to oer and
adjust their frequency content 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 specic
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 nd that oending frequency and notch it out. Once you are
satised with your kick drum, mute it, and move on to the next instrument.
• Taking your time with equalization is well worth the eort.
Your mix will have better separation and more clarity.
Additional advice:
• You can only do so much. Not every instrument can or should
have a full, rich low end and a sharp attack. If every instrument is
EQ’d to have the same eect, it will lose its identity in the mix. Your
goal is not individual perfection, it is perfection in unity.
• Step away from the mix. Your ears get fatigued, just like the rest
of you. If you are working particularly hard on one instrument, your
ears will be quite literally numbed to that frequency range.
• Your memory is not what you think it is. Comparing a at EQ and the
curve that you’ve created allows you to see and hear exactly what you’ve
done. So be honest with yourself. Sometimes that EQ setting you’ve
been working on for 15 minutes is not the right choice, so move on.
• Never be afraid of taking a risk. The best EQ tricks were found by mad scientists
of sound. With every instrument, there are frequencies that can be attenuated or
boosted to add clarity or fullness. Altering the wrong frequencies can make an
instrument shrill, muddy, or just downright annoying. The following two charts
suggest frequency ranges that should be accentuated or downplayed for the
most common instruments. These are just suggestions; the frequencies may need
to be adjusted up or down depending on the instrument, room, and microphone.