01/26/2020
CORRECTIVE EQ
Usually when starting a new mix, the first step for me (after getting a basic balance/panning) is corrective EQ. With the right treatment of some key frequencies, it's much easier to get a clean mix and then any following processing will have a better effect!
Especially dynamic processing, like compression will work much better after accurate corrective EQ. If you do it right the first impression of before/after is that the mix is simply more full-sounding. You hear more bass, more highs, more mids.
Each element of the mix is sitting in the right place and you can actually hear every instrument better. And that's before any fancy, more creative processing!
Here's how I do it in my work.
Generally for me corrective EQ is more about cutting than boosting - but that's not a rule.
Solo every audio track one by one and listen for frequencies that are dominant.
(Also: insert a clean EQ with a narrow bandwidth, boost 6dB and slowly move it all across the spectrum from 20Hz to 20kHz)
Listen for frequencies that are sticking out and ringing - often it's a good idea to cut them.
Other frequencies may bring up something nice.
If any track lacks fullness, sounds hollow or isn't present enough it's a good idea to see if boosting any frequency would fix it.
But if boosting makes it feel boomy or unbalanced the solution may be somewhere else (like compression or saturation).
Then listen to the track un-soloed, within the context of the whole mix.
Here are some significant areas to listen for. Depending on the source these areas will be in different parts of the spectrum (fundamental may be 40Hz for bass, or 300Hz for voice, etc.)
1. sub frequencies (below the fundamental) - you actually often don't hear anything here. It may be a good idea to low-cut filter everything that's below the fundamental, since it's adding to the noise and using up headroom, and not adding anything important to the tone
2. fundamental frequency - that's the pitch that we perceive, and it will be important to make the tone full and well-supported. Though excess of these frequencies can make the tone boomy.
3. lower hamonics - they make up a lot of the character. Correct treatment of this area is super important to make the tone open and well-balanced.
4. higher harmonics - the higher you go the more the harmonics will blend together. Frequency build ups and resonances in this area can make the track sound thin or harsh.
5. air, frequencies above ~10kHz - not enough will make the track dull, too much will sound thin. Usually I work on this area later on in the mix, and not during corrective EQ
It's really important to listen for tracks that take up similar frequencies. Bass and kick are a good example, but other elements of the mix can fight for frequencies as well.
If the tracks aren't blending nicely and actually create an unpleasant build up in some area, you'd need to prirotize and decide which element has to make more room for the other one.
In the end the goal is to make everything sound full and balanced as much as possible!
The main goal of corrective EQ is to fix problematic frequencies early in the process, before moving on to more creative stages of the mix.
If it's done right the mix will be cleaner and more detailed, and you'll have a better idea of where to take the mix from there.
