The Art of

EQ

“THE ART OF MIXING” SERIES – BOOK 2

Before We Begin

If you enjoy this book and want to continue your journey of learning and discovery in the world of music production, there will be more ways to connect with me:

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As we dive into the pages of this book, I hope you will find it both informative and inspiring. The journey of mastering the art of mixing is ongoing, and I will be here to help you every step of the way.

The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

Chapter 8

A few tips for mixing

low-end

Chapter 9

The importance of “air”

Chapter 10

A closer look at the API 550A EQ

about the author

I have worked as a Mixing and Mastering Engineer for the past 17 years. My career began at Mayfair Studios in London, and I later became the in-house Mix Engineer at Kensaltown Studios—home to producer Martin Terefe. During my seven-year period there, I mixed most of Martin's records, spending my days in front of a beautiful, old API console. During this time, I had the honor of working with renowned artists like Cat Stevens, Elton John, Jamie Cullum, Jason Mraz, Leslie Clio, and A-ha. My work with the Latin duo Jesse & Joy even earned me three Grammys. Since 2017, I have been based in Gothenburg, Sweden, where I continue to mix records on a freelance basis.

The purpose of this short book is twofold: first, to share the knowledge and insights I've gained over the past decade, and second, to inspire aspiring engineers. Inside, you'll discover a wealth of useful tips, as well as my personal perspectives on compression. Don't hesitate to reach out and share your thoughts and opinions. My hope is that you find this book both fruitful and enjoyable.

Thomas Juth – January 2021, Sweden

Introduction

Do you ever find yourself a bit lost when working with EQ’s, wondering if you are using “the right” approach, or are missing some important steps or knowledge? Do you sometimes feel that your mixes don’t come out sounding as open and smooth, as you would like? Also, perhaps there are situations where you normally use an EQ, but where another method would have given even better results.

This guide aims to give clarity to the art of equalization, introduce some advanced concepts and to share some useful tips and secrets. However, this book also aims to be easy to read and present complex subjects in a very simple and straightforward manner. Having said that, the reader is expected to know at least the basics of equalization and knowing what an EQ does. I will also share my own personal views and try to explain how I think before and while applying EQ. By doing so, I hope to be able to help you to feel more confident when working on future mixes.

So, what is the purpose of working with EQ's in the first place? What should be the aim and the reason for inserting an EQ while mixing or recording? As I see it, an equalizer can have two main uses:

1. To creatively shape the tone of a sound. This means tweaking a sound to achieve a totally different timbre from the original sound. This also refers to be a bit bolder than normal, and not being too worried about staying true to the original sound.

2. To alter and correct the frequency content of a sound. This refers to attenuating or boosting frequencies, to get rid of unwanted harmonics, or to even out the sound, or simply to boost the more desired parts.

To achieve this, there are two main approaches:

1. Subtractive EQ

2. Additive EQ

As I am going to explain in the next few chapters, it is very important to have a good understanding of both concepts.

Chapter 1:

Things to keep in mind before reaching for an EQ

Always ask yourself these questions

Just as with compression or any other type of audio processing, one should never reach for an equalizer without having a vision or a clear reason for it. In fact, one of the most important questions you could ever ask yourself while mixing is: “what does this song/sound/recording need in order to sound better?”. If the answer is: “nothing, it already sounds amazing”, and you decide to leave it untouched, then you have come a long way as an engineer. In other words, doing nothing is sometimes the best option.

Whether I am working with ‘subtractive equalization’ (dipping frequencies) or ‘additive equalization’ (boosting frequencies), I will always ask myself a set of questions before applying any type of EQ (in the same way as described in "The Art of Compression”). This will help me in deciding what action to take, and if anything is needed. Having said that, to answer these questions one must first have a clear vision of how the mix should sound, as a reference point in your mind.

The questions are: Is the sound or the overall mix…

1. Too heavy in the low end?

2. Too muddy?

3. Too boxy?

4. Too harsh?

5. Too hyped in the high-end (too sibilant)?

These five issues will normally be treated with subtractive EQ, by subtracting frequencies in the right areas.

I will also ask myself: Do the individual sounds or the mix I am working on have…

1. Enough body?

2. Enough presence?

3. Enough top and air?

These three issues, on the other hand, will often be treated with additive EQ, by boosting in the right areas.

However, as a rule I always apply subtractive EQ first, and 70% of my EQ:ing will be of the subtractive kind. Let’s have a closer look at the two concepts.

A colour palette of EQ’s

After deciding what action to take, if any frequencies need boosting of cutting, the type of equalizer you use will also have a big influence on the result.

Just as with compressors, it’s not only about which EQ setting you use, but also about which specific equalizer you choose to work with. Analogue EQ’s (or plugin emulations of Analogue EQ’s) are all unique, with their own distinct tone and personality. So, when applying EQ to any sound, choosing the right EQ is equally as important as knowing where to boost or cut. Of course, purely digital EQ plugins (which are not emulations of Analogue EQ’), are whole different story. But all emulations of analogue EQ’s, especially ones from the 1960’s or 70’s will have their own tone and personally. So, boosting 12khz with a Neve 1073 will never sound the same as boosting the same frequency with an API 550A. So, familiarizing yourself with different types and models of EQ’s is a very important part of mastering the art of equalization.

Having said that, it’s of course possible to mix just using one high-end EQ (hardware of plugin). There was a period when I only had access to one EQ, an API 550A (while working at Kensaltown Studios, London, using an API console) and it worked fine for all my additive EQ work. However, when I have access to more EQ’s and my own collection of favourites, it just makes the job more fun and easier. After all, a big part of being a mix engineer or producer is about having fun and being inspired. One could compare this to taking photos using only one type of lens or painting with only one size of brush. It is possible and limitations can be great, but perhaps not always optimal.

These days I mainly use three or four different EQ’s for additive equalization (when boosting frequencies in a mix). These four EQ’s complement each other well, and they all have unique sonic qualities which are hard to replace. To learn the art of blending different EQ or compressor “flavours” together one just has to practice a lot, and really understand each tool well. When I was younger, I used to spend a lot of time reading about different classic EQ’s, and really getting a good understanding of how they are designed and their sonic characteristics. For example: How does a Neve 1073 compare to a Pultec or an SSL 4000 EQ? So, when I was able to actually work with them, I had a better basic understanding and knew what to look for in each EQ. Today, having access to a huge number of amazing plugins and emulations of these EQ’s, it is of course easier and something which everyone can do.

While I prefer to work with Analogue EQ’s when adding frequencies to a mix, I always use more surgical and digital EQ’s when it comes to subtracting frequencies. As I will discuss in the next chapter, I normally go for something like a Waves Q10 (a purely digital EQ, which is not based on any Analogue model). These types of EQ’s have no personality or flavour, but with the benefit of being more precise and surgical.

Chapter 2:

Working with Subtractive EQ

A large part of the EQ that I apply when mixing is of the subtractive type. This is the process of attenuating, rather than boosting frequencies. As I briefly discussed in my last book, The Art of Compression, I often use the ‘Waves Q10’ plugin when doing my subtractive EQ work.

The aim when working with subtractive EQ is simply: ‘find the frequencies that annoy you and make them quieter’. I see it to “clean up” sounds and to remove unwanted “dirt”, in order to get more clarity and separation between the different elements. In fact, this is also my mix philosophy in general. I address the things that annoy me, until I am left with a “healthy” sound, and until nothing bothers me anymore. After that, one just needs to add some extra sparkle and spice on top. I learnt this from Mix Engineer Tony Maserati, while I had the chance to be his temporary Assistant Engineer for a month, back in 2007.

Why use more Subtractive EQ?

I generally try to add as little gain as possible to any part of my ‘signal path’ (whether I’m working with EQ’s, compressors, level-trim pots, etc.), as it adds unwanted distortion and noise to the signal. Also, by respecting the gain structure of your signal chain, the whole mix will end up sounding more open and clearer. The subject of gain structure is something I will look deeper at in a future eBook. However, it basically refers to the importance of always keeping a good balance between the level of the input and the output of each part of the audio chain. The same thing relates to EQ’s, and when boosting the volume of a specific group of frequencies.

Therefore, subtracting/attenuating frequencies will give you a much smoother and less hyped (more natural) sound, as well as more clarity and space between instruments. Also, attenuating a group of frequencies can be just as effective as boosting frequencies elsewhere. For example, attenuating low-mid frequencies will give you the same results as boosting high-mid frequencies. One of my favourite areas to make dips, in order to give a mix more clarity, is around 250Hz and 500Hz. I refer to these two areas as the lower and higher “mud regions”. Subtractive the right frequencies in the 250Hz region can remove boominess from a mix, while making small dips in the 500Hz region can make a mix sound cleaner and more expensive.

How it is done

As I mentioned before, the main goal when working with ‘subtractive EQ’, is to find and attenuate (dip) ‘problem frequencies/harmonics’. This might be frequencies that are too strong in different parts of the frequency range. Frequencies that create “mud”, kills clarity or that are simply annoying or painful to listen to. Also, by attenuating frequencies in one sound, another sound might suddenly sound clearer and be allowed to take more space.

I usually start by boosting a selected frequency (using the Q10 plugin) by 10-18dB, with a very narrow “Q value” (the width of the affected area). I then sweep through the problem area and look for problem frequencies (frequencies/harmonics that are clearly making the problem worse). For example, if the sound that I am looking at is too “boomy”, I would be looking for trouble frequencies around 150-300Hz. When I find one, I make the “Q-value” a tiny bit wider and dip this frequency region by 1-2dB.

Note: It is important to be very careful when using any type of EQ (whether it is subtractive or additive), as one can easily make a problem even worse. By going too far, and dipping the wrong frequencies, one could end up with a thin-sounding and two-dimensional mix. If I find myself using too many EQ’s on one track I often go back and revaluate what I have done, and back off on the processing, if needed.

This procedure takes a lot of practice and time, in order to get right, but with time it becomes like second nature. I would suggest that you start practicing this as much as possible, by simply sweeping through different sounds or mixes in the way I described above. This will also teach you about frequencies in general, as it will eventually help you to start seeing important patterns. If the music that you mix is always recorded in the same room or environment, it will also help you to understand your room acoustics better. Another important factor to consider, is that you must know your mixing environment really well before starting to apply this technique. It is important to be sure that it is not just your speakers or your mix room that is adding these troublesome frequencies.

Subtractive EQ:ing when using a wider “Q-value”

So far I have only discussed using subtractive EQ:ing in a more surgical way, in order to even out unwanted harmonics. Sometimes it’s necessary to use the same technique with a wider “Q-value” as well. This can be used as a substitute for “additive EQ”. If for example a sound needs more presence, one could (instead of simply boosting around 3kHz) simply make a wider dip around 250Hz. This will give a similar result, but without the need of boosting frequencies. I often find myself using a combination of both types of ‘subtractive EQ:ing’, and then adding a touch of ‘additive EQ’ on top (to make sounds poke out even more). As I mentioned before, of my most used dips when mixing, and when using a wider Q-value, is the area around 500Hz. This area is often (but of course not always) what stops your mixes from sounding open and clear. Try attenuating this area only 1dB, using a Pultec EQ, and you will notice a subtle but yet massive difference.

Chapter 3:

Additive EQ (The cherry on top of the cake)

Adding spice to your mix

I personally use very little “additive EQ” in a mix, and always just enough to make a specific sound “shine” and “poke out” in the right place. I usually refer to additive as “the cherry on top of the cake”, as it should only be the last touch and the final sprinkle of magic (though again, some other engineers might disagree about this).

While ‘subtractive EQ’ is mainly used for fixing problems and evening out a sound, ‘additive EQ’ is more like the spice you add on top of an already “healthy” sound. My additive EQ is always done at the end of the chain, and always with high-end Analogue EQ’s (or the best sounding plugin emulations). Personally, I am a big fan of UAD plugins for this, but there are a lot of other great brands out there which make emulations of all the best EQ’s,

As I mentioned earlier, the 550A is one of my favourite EQ’s for boosting frequencies (I will be looking closer at it in Chapter 8). Apart from the fact that it sounds great, it is also extremely versatile. Each ‘EQ point’ has been carefully chosen, and they are all there for a reason. I love what the 100Hz adds to electric basses, what the 5kHz adds to acoustic guitars, and the magic sheen that 12.5kHz adds to lead vocals. Another favourite of mine is the Neve 1073, which can add a very silky top end or midrange to softer vocals. Of course, only way one can fully understand these subtle differences is by playing around with these different sound sources.

Recently I have added the Harrison 32C to my “colour palette” (a re-issue of the EQ used by Bruce Swedien on Michael Jackson’s “Thriller” album). It is a beautiful sounding EQ, with a very sweet midrange and top end. My favourite part of the Harrison EQ is the region around 4kHz, which can make guitars, pianos and vocals come alive. The top end is great for opening drum sounds and adding “air” to vocals.

My fourth go-to EQ is the classic Trident A-Range (check out the Waves emulation of this), which in my opinion is one of the most musical sounding EQ’s ever built. It has a midrange (especially around 3kHz) to die for, and a very majestic top-end. It is especially good for giving vocals and pianos presence, and for giving bite to kick and snare-drums. The Trident A-Range console was designed in the late 60’s and used on many classic records by artists like Queen and David Bowie. It’s also my favourite EQ for pianos, and for giving presence to snare drums.

It is important to mention that all these EQ’s and techniques work just as great for all kinds of genres, and not are not designed for one specific type of music. I mix a lot of electronic music these days, and in my opinion Analogue type EQ’s are perfect for that application too. At the end of the day, it’s just about frequencies and how they interact with one another.

Spread out your EQ-points

One golden rule when boosting with any EQ is to try to not boost the same frequency for too many instruments. So, for example, if you are boosting the vocal at around 3kHz, try to not boost 3kHz for the guitars or synths as well (or any another “midrangy” sound). Then it’s better to boost the guitars a bit higher up, or lower down. In this way, you ensure that one area of the frequency range doesn’t get too cramped and busy.

Note: When it comes to applying EQ specifically with the lead vocal in mind, I will get into a lot more details in my upcoming eBook: “The Art of Mixing Vocals”.

The midrange is a very sensitive area and getting this area right in a mix is extremely crucial. A well-balanced midrange will make your mix sound open and lush, while a wrongly distributed midrange (or simply too much of it) will make your mix sound busy, small and harsh. So be very careful when boosting frequencies in the midrange area, as it is very easy to overdo it.

Below, I have attached a very simple chart that demonstrates how I often spread out my “EQ points” when boosting in the midrange (to add presence to different instruments in a mix). As you can see, each instrument has been allocated its very own frequency area. Of course, these EQ points are not set in stone and change slightly from mix to mix, but at least it gives you a rough idea. The chart shows different EQ points where I often boost if I need to add presence to specific instruments in a mix, and how they are distributed. As you can see I never boost the lead vocal and the guitar in the same area.

2khz | 3khz | 4khz | 5khz | 7khz | 8khz
Electric Guitar | Electric Guitar or vocal |  |  |  |
|  | Lead Vocal |  |  |
|  |  | Acoustic Guitar |  |
|  |  |  | Piano or strings |
|  |  |  |  | Snare drum

Chapter 4:

The five issues to focus on when working with EQ’s

Generally, when working on a mix, I take for granted that I will have (at least) five potential issues to deal with, in relation to EQ. One could also refer to it as five potential battles that need to be won before the mix is finished. The way to “win” these battles is to achieve a good balance between the good and the bad. This could be, for example, achieving a sound that has a great level of presence but that is not too harsh or sharp.

Note: What I am going to discuss in this chapter relates to the questions I presented in ‘Chapter 1’.

Right from the start, and all through the mix process, I always keep my mind on these five issues and I don’t stop until I am satisfied and have found a great balance, (one versus the other).

These five issues/battles are:

GoodVersus      Bad

Low-end/Fatness | Loss in Headroom
Warmth/Body | Mud
Richness | A boxy and honky sound
Presence | Harshness
Openness and Air | Hyped top-end and Sibilance

1. In the “low region” (approximately 60Hz-150Hz) we find the warmth and fatness of the mix/sound source, but we also have a potential problem:

Too much bass in a mix kills headroom and will make the mix appear sluggish.

2. In the “low-mids” region (approximately 190Hz-350Hz) we have the warmth and body of the mix/sound source, but we also have a second potential problem:

Too much “low-mid frequencies” in a mix will create “mud”, and the sensation that the sound is not clear.

3. In the “mid region” (approximately 400Hz –1000Hz) we find the richness and upper body of the mix/sound source, but there is also a potential issue here:

Too much information in this region can result in a very boxy, nasal and honky sounding mix.

4. In the “high-mids” region (approximately 2000Hz –4000Hz) we find the presence and forwardness of the mix/sound source, but the potential issue here is:

Too much “high-mids” content will result in a very harsh sound and can lead to a painful experience for the listener.

5. Finally we have the high frequencies (approximately 5000Hz –15000Hz), and the very important “air-band” (anything above 15000Hz). Here we find the clarity and the sense of air, openness, and spaciousness. However, the potential issue here is:

Too much of high frequencies will lead to harshness and overly sharp S:es and cymbals.

So, I normally ask myself, “is the mix present enough”? If the answer is “yes” I will then ask myself, “is this mix (or any elements in the mix) in any way sounding harsh?”

If the answer to this question is “yes”, I will go back and try to address this problem. All these problems can easily be solved by the use of ‘subtractive EQ:ing’, or by simply backing off on any ‘additive EQ’ used.

If the mix is too harsh there is a chance that you have perhaps boosted too much midrange, at too many places.

Chapter 5:

The Power of Filters

Another important aspect of Equalization (one that often gets overlooked) is ‘filtering’.

One can improve a mix drastically by simply filtering out the right frequencies, and by stopping them from entering the mix. Personally, I use filters for a lot of different applications, almost as much as I boost or attenuate frequencies. Here are a few examples:

Filtering reverbs

When working with reverbs, in a very busy mix, it’s very important to not allow the full (frequency) range of any reverb into the mix. Too much low-end or top-end in a reverb can easily make your mix sound messy and undefined, unless you are going for a specific type of sound. So, I always try to be careful, especially with the lower frequencies.

As I discuss in my other eBook, “The Art of Creating Depth in a Mix”, this can be done in two ways. One can either filter out the signal going into the reverb, or/and add a filter to the actual reverb itself (the return). I always do a combination of both, to ensure my reverbs are “clean” and controlled. Having said this, when working with very sparse productions, where there are only a couple of instruments, I often allow more “lows” into my reverb. It all depends on the amount of space one has to play with.

Moving sounds backwards

Filters are also great for moving sounds backwards in a mix. This is another subject that I discuss in “The Art of Creating Depth in a Mix”, and which is important for achieving depth and space in a mix.

When it comes to the perception of how close a sound is (to the listener), the high and low frequencies play an important part. By filtering out highs and lows (especially highs), the sound naturally moves backwards, and creates more space in the front of the mix. I often apply this technique when working with ‘backing vocals’, in order to place them behind the lead vocal.

Focusing a sound into a frequency range

Filters are also important for focusing sounds into a specific frequency range, which is another great way of creating space in a mix.

A good example of this is when a mix has a lot of high frequency content, fighting for attention. This is often the case when you are mixing guitar-based music, where there are a lot of cymbals and other bright elements. By simple filtering out the high frequencies from the guitars, and focusing them into the midrange, you can create more separation and space in that region. I do the same thing when working with low-end (which I will discuss later in this book) and I always think carefully before allowing any instrument/sound into the region below 100Hz.

Chapter 6:

alternative ways of shaping sounds (Not using EQ’s)

In this chapter I will show how EQ’s are not the only tools that you can use for shaping the tone of a sound/mix. Even though we all tend to automatically reach for an EQ when wanting to shape or change the way an instrument sounds, it might not always be the best option, or give the desired results. This is something that I have learnt over the years, by trial and error. Here are two methods that I use a lot when mixing, as alternatives to using additive EQ.

parallel treatments

When working with drums and basses, I often find that EQ’s don’t give me the result that I am looking for (in terms of tone-shaping). Boosting top end or midrange to an overhead or snare track, can sometimes give you a very harsh and flat sound, at least when using the EQ as an insert. However, by instead adding layers and parallel treatments to the drums, one can achieve the same goal, but with more depth and dynamics. With ‘parallel treatments’ I am referring to making duplicates of the sounds and treating the duplicates in certain ways, in order to achieve the desired outcome.

Sometimes I may use three or four parallel treatments on the snare (for example), and I rename these tracks “bite”, “smack”, “grit” or “body”. However, I normally balance these tracks and bounce them together as soon as possible, so that I don’t have too many tracks in the session. The benefit of this technique is that the original sound is still kept untouched, beneath all the other layers. There are also unlimited possibilities and options when working this way, and it will give you a chance to be more creative and playful. If you have some hardware equipment in your studio, don’t be afraid to bounce sounds through them. For example, distorting old valve EQ’s or compressors can give you incredibly cool tones, that can add brightness to snares.

How it works:

Here is an example of how this technique can be used for a snare drum. The aim is to make the snare cut through and be more present in the mix:

I would start by duplicating the original snare track, and then run each copy through its own chain/treatment. One copy would go through a bright distortion (treatment 1), the second through a dark distortion (treatment 2), and the third one would go through an EQ with a very extreme presence boost (treatment 3). I then combine these three signals together with the original sound, depending on what is needed for the song. The two types of distortion and the EQ’d signal add midrange, clarity and grit to the snare, without having to EQ the original snare track at all. In other words, the original snares stay totally untouched. You can always play with the dry snare too, but parallel treatments should be enough to give you the desired effect.

When hearing the snare (together with the treatments) in the mix, one might not even hear that the snare is distorted or processed. It only helps it to cut through the mix, on smaller speakers. I could even add other kinds of treatments to the snare, perhaps even use some really crazy effects (chorus, flanger or a short delay); whatever it takes to shape the sound the way I want it. Remember, there are no rules when mixing, only different concepts and ideas. Be playful and have fun, and your mixes will stand out. A similar approach could be used for shaping the tone of most sounds and instruments, as an alternative to additive EQ. Of course, I often combine this technique with normal (static) additive EQ:ing as well.

The possibilities of “Dynamic EQ”

One subject that is often overlooked when mixing is the concept of “Dynamic EQ”. If one refers to a normal EQ as a ‘static EQ’, a dynamic EQ is something that dynamically changes the amount of attenuation or boosting (for individual frequency bands). One device like that is of course a multiband compressor.

You might be a bit confused now; how can a multiband compressor serve as an EQ?

In a way, the only difference between a multiband compressor and an EQ, is that the compressor automatically (and dynamically) changes the volume of separate EQ bands, while an EQ is changed manually, and stays static (unless it’s automated). They both change the volume of only a part of the audio signal (one frequency band), and thus change the tone of the audio.

Another way to use a multiband compressor, so that it becomes even more like an EQ, is by inverting it. This is referred to as ‘upward compression’. If you have never tried this before, this will be a big eye opener for you, and something you need to try. It’s simply the opposite of the usual “downward compression”, in which the volume of a sound is decreased (whenever the audio signal gets too loud). In upward compression, the volume of the audio is increased whenever the audio signal reaches a certain threshold.

How it works:

The only plugin I have tried this with is Waves C4, but it works just as well with any other multiband compressor plugin.

There is one parameter in the C4 plugin called “range”. The value in this box controls how much that specific frequency band is going to “duck” when the signal reaches the threshold (just for that specific frequency band). If one puts a positive value in that box, instead of a negative one, the multiband compressor will suddenly act backwards. As soon as the signal reaches a certain threshold the volume will be boosted for that frequency band. What does this mean?

This means that if you, for example, put the C4 across the whole mix, you could make the whole mix brighter every time the snare hits (if you put the threshold so that it reacts to the snare drum). Or you could put the C4 across the drum bus and set the compressor so that the whole drum kit gets more low-end every time the kick hits. This is a good trick for getting more low-end to a track, but only momentarily.

Try this. It’s an extremely useful tool and something that I use a lot.

CHAPTER 7:

My Go-To EQs for Vocals

In the artistry of mixing, your selection of tools can make all the difference. EQs, in particular, are the brushes that color our sonic canvas. In this channel I will go through my own personal color palette and selection of EQs.

For those who follow me on YouTube you'll recall my fondness for the API 550A EQ. This love affair began at Kensaltown where the API console, my daily companion, was packed with these EQs. With the evolution of technology and the arrival of better plugin emulations, my arsenal grew, but my love for the 550A remains. Nowadays, I mainly use it on vocals for its 12.5kHz high shelf. I love how it gives the lead vocal that instant pop shimmer and pushes it forward in the mix.

Diversity keeps things interesting, and mixing is no different. While I love the 550A for its clear high shelf, there are other great options for boosting the high-mids. When boosting frequencies around the 3–4 kHz range, I normally reach for one of three options: the Chandler Curvebender, the Neve 1073, or the Harrison 32C. Each of these EQs holds a special place in my heart, and although they're often summoned for this singular task, their individual nuances give them unique identities. They do what a great EQ should—boost the upper mid-range of a vocal without making it harsh while maintaining a certain sweetness.

Finally, there's the renowned Pultec MEQ5, an EQ that adds balance and clarity to my mix. The charm of this EQ is its ability to create a subtle dip around the 500Hz range. With the MEQ5, I've consistently preferred subtractive EQ. Using this EQ in that specific range can create space and introduce a distinctive warmth to the high-mids.

When adjusting the lower frequencies of a vocal, I'm cautious. Boosting in this area is rare for me. If a vocal needs more body, the Pultec EQP1A and the Neve 1073 are my go-to choices. Yet I often lean toward making subtle cuts to clear up the lower mids. For added warmth, consider tube or tape plugins—they can provide a rich texture similar to an EQ.

One of my go-to tools from my time at Kensaltown is the Avalon 747. Despite the release of newer gear, it remains a top choice. While there isn't a plugin version of it, I sometimes use its counterpart, the 737. Both feature a unique top air band that extends up to 32kHz, a range not often found in many EQs. It's the perfect tool for adding a silky, almost epic airiness to vocals.

Part of mixing is choosing the right tool for the task, and every EQ has its use. With practice, you'll see that sometimes simpler is better. It's about knowing what each EQ does best and using it the right way. There's no one way to mix. But my methods have made my work faster and fit my style. As you get into mixing, try different EQs. Learn what they do, get to know them, and use them to shape your sound.

CHAPTER 8:

A FEW TIPS FOR MIXING LOW-END

Achieving a good low-end can sometimes be the hardest part when mixing, especially when working with Hip-hop or very sub-heavy music.

One might think that to achieve a massive-sounding low-end one just needs to reach for an EQ and boost lots of 50Hz. But by doing so, you will quickly hit “the ceiling” (maximum headroom) and run into problems.

THE BOX

I always look at the frequency range of any song as a box. There is only so much room to play with, and only so much one can fit into the box. Low-end takes up a lot of space compared to higher frequencies and will quickly fill up the box, eating up your headroom. So, as you will soon realize, there is always a trade-off, always a sacrifice to be made when dealing with low-end. For example, the more low-end in a mix, the less loud your mix can be.

Next time you work on a mix, try adding a high-pass filter to the bass and kick, and you will see how much louder you can make the mix. But as soon as the low-end comes back, you need to back off on the overall loudness to avoid overloading the ‘master bus’. A low-end-heavy mix will present a lot of other challenges too, such as maintaining the clarity and punch of the mix or avoiding undesirable compression effects, especially when using a compressor across the whole mix. One must work hard to achieve the perfect balance. Also, too much low end will overwhelm many speakers and make them pump in an ugly way, affecting how your mix is played back. This, in turn, makes the mix appear less punchy and clear.

THE NEVE 1073 LOW-END TRICK

When mixing bass guitars and kicks, it can sometimes be a challenge to get a fat sound with a lot of low-end but without overpowering the mix with too many sub frequencies. Here is one of my favorite tricks that always works. This specific technique requires that you use a Neve 1073 (any simulation/plugin works), a good filter, and a multiband compressor. You could, of course, try with another EQ, but there is something magical with the low-end of a 1073 that is hard to recreate. In my experience, this works best with a real live bass and not so well with electronic basses. It is also important to mention that this technique only works if you dial in the right amount, as every bass and mix will be different. But here is the idea:

Add a 1073 EQ to your bass guitar or kick. Select the lowest frequency possible, which is usually 35Hz.

Boost this frequency as much as possible. Yes, bring the gain knob all the way up! You will now hear an extremely fat low-end, but which is also probably overpowering the mix.

Add a filter right after your 1073 and set that filter to 20Hz, just to protect your mix from the lowest subs.

Add a multiband compressor after your filter and set it so that the lowest band is controlling the region between 20-70 Hz. You want it to duck around 2-3 dB most of the time. This will control this newly added low end and keep it tight.

If the low-end feels too much, add a second 1073 at the end and roll off 35 Hz. In other words, you are doing exactly the same as you did in point one, but backwards. Boosting with one Neve and then cutting with another Neve will give you an interesting effect, and you will get even more of that Neve “mojo”.

Another thing you can do at this point is to use another EQ, such as an API 560, and add some upper midrange to the bass. This will give it some edge and allow you to lower the bass in the mix. The possibilities are endless.

Have fun with it and play around with the EQ/EQ’s until it sounds good. But this is always my starting point when working with live basses that sound thin.

SEVEN TIPS FOR GETTING A BIGGER, MORE CONTROLLED, AND CLEANER LOW-END

Every engineer will have his own way of dealing with low-end, and here are some of my personal approaches and tips.

Watch your VU meters. They will tell you a lot about your mix. In fact, when I mix, I always rely a lot on what my VU meters are telling me, sometimes as much as my ears. Next time you are working on a mix, insert a VU meter plugin across your mix and study the movement of the needle. A healthy mix should give you quick and alert movements, and the needles should move freely. If they stay too long in the same place or move in a very sluggish way, you might have too much low-end in your mix. Normally when muting the bass (if there is an electric bass or synth bass), the mix should drop circa 3dB.

Use a Limiter and a multiband compressor on the final track just to keep track of what is going on at different parts of the song. I normally don’t want to see any movement or compression going on, and the purpose is just to spot problems. If the low-end region of the multiband compressor suddenly starts ducking, that section of the song might be too low-end heavy.

Only allow the kick and bass to enter the region below 100Hz. This should be a kick and bass zone only, and by keeping it that way, your low-end will be a lot more controlled and clean. I normally add high-pass filters to most of the other tracks (guitars, keyboards, vocals, etc.), to ensure they stay out of that zone. There is no point in having lots of sub-frequencies in a piano or guitar. Also, remember that even your Reverbs can add unnecessary subs and low-end to your mix, making your low-end appear muddy and unclear.

As I mentioned earlier, try using upward compression (dynamic EQ) to boost the low-end of the kick or other percussive sounds. This can be used across the whole mix, on the drum bus, or only the kick itself. So, whenever the kick hits, the low-end gets boosted temporarily. This is a great way to boost the low-end of an entire mix without affecting the other instruments that much.

Boost and attenuate different frequencies for the bass and kick. This will ensure they don’t interfere with one another as much, and you will create enough space for both of them.

Sometimes backing off on low-end will result in fatter and bigger low-end. Too much low-end will just overpower your mix and make it soggy and unclear. It’s all about finding that balance.

This point might be obvious, but when working with low-end, it’s extra important to work in a well-treated room and using good speakers. The biggest reason for a “bad” low-end is normally that people work in bass-light rooms or with bass-light speakers, or the other way around. This will lead to bad decisions.

If you are mixing with headphones, just remember that low-end is not felt in the same way through headphones as when you are using speakers. A speaker will push the air into the room and cause your chest to pick up the airwaves. It can, therefore, be extremely difficult to judge the bass level. I, therefore, recommend always checking your mixes on speakers, and preferably different sizes.

Remember that your low-end is not just below 100Hz but starts a lot higher up. So, if you want your mix to sound “fat”, make sure that you check your mixes on smaller speakers too. If your bass comes through on small speakers, which is what most people will listen to anyway, your mix will translate much better into the real world.

Chapter 9:

The importance of “air”

One day back in 2010, while working at Kensaltown Studios, I decided to try out the Avalon 747 stereo compressor/EQ, which I had totally ignored up to this point. To be honest, I am not a big fan of Avalon equipment, especially their compressors. But as it was sitting in the rack anyway, I decided to give it a fair chance. I patched it in across my stereo (master) bus.

Just as I expected, it did not really blow me away until I got to the graphic EQ section and the very last knob on the right side. It is a very simple graphic EQ with fixed frequency points, and the knob to the right is a fixed shelf EQ. I brought it up a few dB and was immediately blown away. Wow! My mix just sounded so much more expensive, silky, and open, almost as if it had been sent to mastering. The weirdest thing is that the EQ section on an Avalon 747 does not have any labeling, so I had no idea what frequencies I had just boosted. After doing some research, I realized that this last knob is a 32kHz high shelf. Yes, you read that right, 32kHz, way above human hearing and way above most other EQs on the market.

This really fascinated me, and I had never boosted frequencies that high up before. I had seen a few mastering-type EQs which extend up to 25kHz, but never above that. The concept of adding "air" to a mix was nothing new to me, but I had usually added frequencies much lower than that.

Since that day, this one knob was my secret weapon for almost every mix I did. Still, every time I work on a mix and it needs something extra, adding 1-2dB of 32kHz instantly gives it that "mastered" silky sheen. What I had discovered was how adding "air" that high up helps you to stay away from the harshness of the 8Khz region. The problem is that if you normally add a few dB of 20kHz to a sound or an entire mix, this will have a ripple effect across the entire frequency spectrum. This is how EQs and harmonics work. A boost at 20kHz will add harmonics as far down as 6-8kHz, and you will indirectly boost unwanted frequencies as well. So, while you are adding "air," you are also getting a slight boost of sibilance and harshness.

What makes boosting 32kHz so great is that it naturally does not reach as far down. As your "shelf" starts much higher up, it won't affect the 8kHz as much. This is why adding "air" at 32kHz gives you such a smooth and silky sound.

Sadly, the Avalon 747 is no longer in production, and it is hard to find a replacement. Most other hardware EQs that do something similar, such as a Maselec mastering EQ, would cost you a bomb. Another option might be the Maag EQ, but it is still very expensive.

Luckily, there are lots of great plugins available these days, and there are even simulations of the Avalon 747 out there. I would also recommend checking out the Maag EQ plugin. Alternatively, have a look through your selection of plugins and see if any of them gives you the option of boosting around 30kHz. One should never be afraid to experiment and try to work with what is available, just as I did that day at Kensaltown when I decided to give the Avalon 747 a chance.

Chapter 10:

A closer look at the API 550A EQ

Before leaving you, I want to share some tips on working with the API 550A, and take a closer look at this legendary EQ. Of course, at the end of the day, it is about your ears and your skills and not the tools. But my opinion is that tools and skills always should go hand in hand. Over the years, certain EQ’s almost become an extension of yourself, in the same as an instrument for a musician. But, of course, it is true that skills and experience must always come first.

In my opinion, The API 550A is designed in a genius way, and each ‘EQ point’ seems to be perfectly chosen. Learning about the EQ points of an API550, or any other EQ, can also help you to understand frequencies in general. The beauty with older EQ’s is that they give you specific points and “presets”. So, while you are learning it can help you to identify “important” frequency points and ranges. In other words, the limitations of older EQ’s can sometimes be helpful to a person who is learning.

What I love about the API550 it is that it even has a stepped Gain pot, in 2dB steps. This might seem like a limitation for some engineers, but personally I love having fewer choices. And most importantly, it almost always sounds great. By the way, there are many plugin emulations of the 550A out there, so you can easily try these tips in your DAW.

I mentioned at the beginning that, if I am left with no choice, I am fine working with almost any high-end EQ. However, whenever there is a choice I will always choose an API 550A. One will always have preferences and feel more comfortable with certain pieces of equipment. Here are a few tips and examples of how I usually use the API 550A (most of the time I tend to attenuate or boost by 2dB):

EQ PointApplication

100Hz
Great for adding chesty low-end for bass guitars

200Hz (shelf)
Great for moving sounds backwards in the mix (subtractive EQ)

300Hz

Great for opening up “boomy” acoustic guitars (subtractive EQ) and making them sound lighter.

Great for adding body to lead vocals (additive EQ).

800 Hz
Great for adding clarity and upper punch to bass guitars

3kHz
Great for adding presence to electric guitars and vocals, or for moving any sound forward in the mix

EQ PointApplication

5kHZ

Great for adding presence and “magic” to acoustic guitars, especially when they are played with a pick.

7kHz
Great for adding clarity and presence to upright pianos

15kHz (shelf)
Great for adding air to lead vocals, and probably my favourite thing with the 550A.

Another great feature with the API 550A is its filter, a feature that took me a while to notice.

Just below the main EQ knobs there is a little switch that says FLTR. When pushed to the right (turned ON), all frequencies below 50 Hz and above 15kHz get filtered out. Most people don’t actually know that it works as a dual filter, and that it cuts both highs and lows. As discussed in chapter 5, this is very useful when trying to focus sounds more into the midrange, and when trying to move sounds backwards in the mix.

I hope to see you in the next eBook – The Art of Creating Depth (Part 3 in the “The Art of Mixing” Series).

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The Art of Mixing Series

Explore the world of audio mixing with my series of eBooks, collectively known as "The Art of Mixing." Dive into the following four books to master the craft:

The Art of Compression: Learn the secrets of dynamic control and how to shape your sound with compression techniques.

The Art of EQ: Discover the art of equalization and how to sculpt audio frequencies for a polished and balanced mix.

The Art of Creating Depth: Uncover the techniques for adding depth and dimension to your mixes, creating a sonic landscape that captivates your audience.

Mixing Philosophy: Delve deeper into essential mindsets for creating truly great mixes and explore the importance of a well-oiled workflow.

Thank You!

Before you go, I would like to say, “thank you” for purchasing this eBook, and for reading it all the way to the end. I hope you enjoyed it!

I would really appreciate if you could take a minute or two and leave a review for this book on Amazon. Your feedback is very important and will help me continue writing more books.

I would also like to thank my brother Fredrik Juth, for proofreading and for great teamwork.