But it still helps me save a lot of time. I’m just finding general areas where there are problems. If I cut somewhere in the range of 2 kHz and 5 kHz, I can probably take out a lot of that harshness.Īs you can see, this isn’t an exact science. I also have a vocal take that feels really harsh and thin. Thanks to ear training, I know that I can fix that by cutting somewhere between 300 and 500 Hz. You can pick out problem frequencies just by listening and go right for them instead of always sweeping and guessing.įor example, this kick drum sounds a bit like someone hitting a cardboard box. Identifying frequencies can be super helpful. Even if it sounds good, the visual representation of a parametric EQ can make you feel like you’re overdoing it, so much so that you end up backing off the gain. The problem is that it’s easy to see drastic boosts on a parametric EQ and immediately assume you’re going overboard. To do so, you may need to dramatically increase some high frequencies. Say you want to really accentuate the “crack” of a snare. But when it comes to making more drastic changes to a sound, you may find yourself trusting your eyes more than your ears. They’re stellar for finding resonant frequencies and making surgical cuts and boosts.ĭigital parametric EQs usually have a graphical display, which makes them exceptionally easy to use. Almost everyone has at least one good one at hand-the stock EQ that comes with your DAW is probably a pretty decent parametric EQ. Mistake #1: Only Using Parametric EQsĭon’t get me wrong, parametric EQs are great tools. In this guide you’ll learn what these 11 mistakes are and what you can do to avoid them. Over the years, I’ve noticed 11 common EQ mistakes that keep cropping up and can stop a mix dead in its tracks. It’s also tremendously easy to get EQ wrong. Steer clear of these mistakes and you’ll be much happier with the mixes you create.ĮQ is arguably the most powerful tool at your disposal when working with audio.
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