EQUALITY AND EQUALISATION

This month I am writing this article whilst stranded in a small airport in Indiana; it’s a definite anticlimax to an inspiring trip to visit a pro audio retailer out here who is on the forefront of integrated modern technology.
This trip has elevated to me the significance of organisation. A seamless operation can only be so if all the cogs are turning the right way, at the right time. Although my current cog (the airport) is definitely not turning anywhere right now, the operation I witnessed today at the retailers premises was worthy of an award for innovation.
Each department runs as smoothly and efficiently as possible, but its success relies entirely on the other departments also playing their part and working effectively.

I feel this concept of every part playing an integral role is something that can also be reflected in audio production and mixing. I think we all can sometimes be guilty of over estimating a single part or instruments importance, but severely under estimate each individual parts significance.

A great sounding mix is like ‘Amnesty International’ for audio, making sure each part is heard and has a fair share of the frequency spectrum. Poor sounding mixes end up being like the first 3 rows at the Glastonbury main stage where everyone is fighting for space and you end up quite literally with a big muddy mess.

Using this principal you should endeavour to sculpt a place for each instrument within the sound canvas of your work.

To do this, firstly you need to understand the frequency range and the significance of each frequency band.

The general frequency range that you are used to having access to on equipment runs from around 20Hz – 20kHz, the ear however is most sensitive to frequencies between 40Hz and around 12-14kHz, although with age your ability to hear high frequencies will diminish - try playing some pure tones at 7kHz, 10kHz, 12kHz, 14kHz and 15kHz and see how sensitive your ears are, if you discover that you do not hear anything over 12kHz for example, you should be careful that your mixes are not too ‘toppy’ where you have been trying to overcompensate.

A well-balanced mix will contain a presence from across the frequency spectrum, however too much energy from a particular band can have a major effect on the overall perception of the mix.

For instance, if there is too much low frequency content (below around 300Hz), the mix can sound ‘boomy’ or ‘muddy’. Too little of these frequencies however and the mix can sound ‘thin’ and lack ‘power’ or ‘energy’.

Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. When there is a lack of low mids, the mix will sound ‘thin’ and a little ‘empty’.

Finally the high mids and high frequencies are generally adding sparkle and a sense of space to your mix. A lack of content from as low as 2kHz can cause a mix to sound dull, whereas too much tops and your mix can sound overly ‘bright’ and ‘scratchy’.

One of the most important frequencies is 1kHz, if there is no 1kHz content, your mix will sound unnervingly empty or ‘missing something’. However this frequency can also cause a number of problems, as in most mixes all lead components like vocal, guitar, piano and strings will normally have high 1kHz content.

A little trick is to cut a space for each instrument – let them all be heard. Firstly, decide which element is the most significant (perhaps you want to draw attention to the very talented vocalist, or you want to transfix people onto the melodic guitar hook), once you have decided, boost that part by around 6dB at 1kHz using a relatively high Q setting (maybe around 6 or 7) and then cut the 1kHz frequency from the other instruments using a tighter Q of maybe 8 or 9 at around less 3dB.

To get the best from the other lead instruments boost the mid frequency to +12dB and sweep round the frequencies until you find the most desirable point / sweet spot. You will then use this frequency in the same way you used the 1kHz frequency for your lead (boost it and then cut same frequency on the other instruments).

Whilst you are doing this exercise equally feel free to cut any unwanted frequencies that you hear whilst doing the sweeps. I find that cutting frequencies can often be much more beneficial than boosting them.

By using this principal of equality in audio your mixes will soon be embracing their newfound freedom! Although you’re unlikely to receive a nomination for the Nobel Peace Prize, there’s always the Grammy’s…

So my saying for the week is “too many over estimate importance, yet underestimate significance”.

Think about it and happy mixing! Peace!