Equalizing Techniques; Scenarios for graphic equalizer and other interesting things about equalizing

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Hello everyone, In this topic I'd like to talk about various equalizing techniques besides the usual additive/subtractive technique using a parametric equalizer which seems to be most common amongst hobby producers and professionals who tend to talk about their craft.

In case you didn't knew this one, I'd like to introduce a certain equalizing technique to you which can be applied additionally to the technique you prefer, for me discovering this technique was a revelation and improved a lot of my mixes drastically, to be more specific, I gained one of my best mixes until now by using this technique for which you'll need a graphic equalizer with at least 20 bands. You'll need decent monitors and very good ears for this one though, I assume.

First thing you'll need a graphic equalizer with at least 20 bands (the more the better, I've used the graphic equalizer in Sony Acid Pro 7 when discovering this) with the capability of going below a certain negative dB amount which makes it possible to fully mute the processed audio signal and this is basically the next thing you'll need to do: Take all sliders to -12dB so you will not hear any sound. The next step is to simply go up with each slider to a degree where you don't like the amount of gain of the frequency you are treating with the current slider. Keep in mind that you have to keep the volume amount of your production system as neutral as possible. When you've reached the point where the frequency doesn't sound appealing to you anymore, go slightly down again with the slider where the amount is still appealing and go on with the next frequency slider and repeat until you've treated all bands with this technique. After that you'll have to adjust the gain slider of the equalizer in case it's necessary.
This technique is very good for final equalization of a project, equalizing right before compressing (with a multiband compressor; It's so much fun to do that), for remastering purposes and other scenarios. That's basically it. This technique can clean up and provide definition to it in a drastical way, especially when it comes to high end harmonies. It also can provide more room for loudness by cleaning up very specific unnecessary or undesired frequency areas. It's highly recommended to combine this technique with other equalizing techniques in order to refine the quality of the results.

Do you know any other equalizing techniques which are rather uncommon or which you just prefer or like? Also, do you've ever heard of the equalization technique described above? What are your thoughts?
Last edited by Rameses on Wed Mar 14, 2018 2:55 pm, edited 2 times in total.
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Rameses wrote:besides the usual additive/subtractive technique using a parametric equalizer which seems to be most common amongst hobby producers.
:lol: :lol: :lol: :lol: :lol:

What you describe is basically balancing the frequency spectrum in a fancy inefficient way :wink: Experienced musicians or the ones with good ears can identify the problematic areas and apply much less bands with an parametric eq to achieve more accurat & smooth results.

There's a pretty similar method by mixing sounds/songs into pink noise. These techniques can help if you don't have the feeling/ear for an overall balanced sound. But most of the time they just destroy the character of the song.

edit: ahh I see from your other posts, you just like to troll in several topics. Sorry, my fault to write an answer. Don't feed the troll :party:

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It would be great if you could substantiate your claims, otherwise it's just saying "no you are wrong but I can't tell you why"-tier :D I don't want to offend you, but you seem to lack expertise and reading comprehension skills and apparently suffer from cognitive dissonace. :)

If you feel like your answer was misplaced you can still delete it. It would be better anyway, because it's misleading and confusing. Thank you!
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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Rameses wrote:Hello everyone, In this topic I'd like to talk about various equalizing techniques besides the usual additive/subtractive technique using a parametric equalizer which seems to be most common amongst hobby producers.
And professional producers, funnily enough.

https://www.soundonsound.com/search/all/interview
my other modular synth is a bugbrand

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Thanks, but that seemed obvious to me, edited that. As long as hobby producers mostly tend to mimic the actions of professionals in order to gain a certain level of quality I assumed that saying that is redundant.
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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Rameses wrote:It would be great if you could substantiate your claims, otherwise it's just saying "no you are wrong but I can't tell you why"-tier :D I don't want to offend you, but you seem to lack expertise and reading comprehension skills and apparently suffer from cognitive dissonace. :)

If you feel like your answer was misplaced you can still delete it. It would be better anyway, because it's misleading and confusing. Thank you!
Unsuccessful troll is unsuccessful :shrug:

Please close this thread.
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Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)

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Lets see what other nuggets of obviousness can be imparted :hyper:
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DJ Warmonger wrote:
Rameses wrote:It would be great if you could substantiate your claims, otherwise it's just saying "no you are wrong but I can't tell you why"-tier :D I don't want to offend you, but you seem to lack expertise and reading comprehension skills and apparently suffer from cognitive dissonace. :)

If you feel like your answer was misplaced you can still delete it. It would be better anyway, because it's misleading and confusing. Thank you!
Unsuccessful troll is unsuccessful :shrug:

Please close this thread.
Cognitive dissonance. The claims of me trolling somehow don't click while regarding the original topic post, don't you think? Stay in your lane.
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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Are you talking about doing this on every track?

One kinda cool thing you can do with graphic EQs is it's much easier to "carve out space": put the same graphic EQ on 2 instruments, then wherever you put one slider up on one instrument, do the opposite and pull the same slider down on the other.

I have Waves GEQ but I haven't delved into it too much - but I love their API 560. Graphic EQs definitely have their place and I dig the simplicity and "working within the limitations".

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Rameses wrote: Take all sliders to -12dB so you will not hear any sound. The next step is to simply go up with each slider to a degree where you don't like the amount of gain of the frequency you are treating with the current slider. Keep in mind that you have to keep the volume amount of your production system as neutral as possible.
-12dB is not going to kill any sound unless you've already backed off the main mix by 30/40dB or more. So, it's basically not very different from the "turn it down real low and see what pokes out", which is functionally no different from the pink noise trick you dismissed earlier.

Also, how are you going to keep a "neutral" sound when, until you've got as many as half the sliders up, it's going to sound like a band playing in the house next door? Or someone on the bus with a crappy pair of earbuds? Depending on which end you start. Or maybe a bad telephone line if you begin in the middle.

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So the method mentioned is basically pull all the graphic EQ faders completely down and start raising them individually one at a time until each one sounds good, then do the next.... I can't imagine this working very well. I think where in the spectrum you start will play a big part in how the sound is shaped. Would you start at the edges or in the midrange somewhere? Each frequency slider will also affect the adjacent ones.

It's unorthodox but if it worked for you, that's cool! I'd like to see a video of this method in action.

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MogwaiBoy wrote:So the method mentioned is basically pull all the graphic EQ faders completely down and start raising them individually one at a time until each one sounds good, then do the next.... I can't imagine this working very well. I think where in the spectrum you start will play a big part in how the sound is shaped. Would you start at the edges or in the midrange somewhere? Each frequency slider will also affect the adjacent ones.

It's unorthodox but if it worked for you, that's cool! I'd like to see a video of this method in action.
They have to be pulled up until it doesn't sound good anymore. I tend to start at the high end, i started a couple of times at the low end, it's two years ago though that I applied this technique last time
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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I did this once with 256 band filter feeding into a huge echo.. Made King Tubby blush that night.

This all sounds way too difficult for me.
I dislike graphic equalizers.. I'm all about simplicity, a good 4 band will do me just fine in most cases. Dial things in quickly and move on.
I might go in with a parametric eq later to take care of problematic resonances if they occur. I'm warming to dynamic EQ's for this, because don't process if you don't to.

The way to get better at it, is doing it. Not theorising about it.

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lwj wrote:I did this once with 256 band filter feeding into a huge echo.. Made King Tubby blush that night.

This all sounds way too difficult for me.
I dislike graphic equalizers.. I'm all about simplicity, a good 4 band will do me just fine in most cases. Dial things in quickly and move on.
I might go in with a parametric eq later to take care of problematic resonances if they occur. I'm warming to dynamic EQ's for this, because don't process if you don't to.

The way to get better at it, is doing it. Not theorising about it.
I really prefer using both, since you can define the mix sharply with the graphic EQ and do some gross optimizing with the parametric.
For DISCOGRAPHY, see К Ɱ Ԏ Ꮇ Ꮩ Ꭶ Ꭵ Ꮳ

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Just wondering. How long does it take you to make a track like that?

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