Specifications

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Using Equalization
In most instances, the best way to approach equalization is to think in
terms of which frequency areas you need to attenuate, as opposed to
which ones you need to boost (boosting a frequency area also has the
effect of boosting the overall signal; too much EQ boost can actually
cause overload—with the accompanying Left/Right Peak LED warning!).
Be aware of the phenomenon of masking, where loud sounds in one
frequency range obscure softer sounds in the same range; by cutting EQ
“notches” in a loud signal, you can actually make room for a softer one to
shine through. And try not to think of EQ as a miracle worker—no
amount of equalization can put a singer in tune or remove the distortion
from an overloaded input signal! The key is to get the signal right in the
first place, by using correct gain structure and mic placement.
Although the specific EQ you will apply to a signal is very much a matter
of personal taste, here are a few general suggestions: Boosting the low
frequency of instruments such as bass drums or bass guitar will add
warmth and make the sound “fatter”; conversely, you may want to
attenuate the low frequency component of instruments such as cymbals,
high-hats, and shakers so as to “thin” them out. Be careful not to boost
high frequencies too much or you risk adding hiss to the signal, though
just a touch can help add “shimmer” to an acoustic guitar, ride cymbal,
or high-hat. If you are using a MIXPAD 4, you’ll find the mid-range EQ
control to be particularly effective for vocals—attenuating it can give a
vocal performance more of an “FM-radio” feel and boosting it can help a
vocal cut through dense instrumentation. Finally, because the MIXPAD’s
High and Low EQ controls both utilize shelving curves, attenuated High
EQ settings can be used to reduce hiss (which is composed almost
exclusively of high frequencies) and attenuated Low EQ settings can be
used to reduce rumble (which is composed almost exclusively of low
frequencies).