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7 Pro EQ Tips

7 Pro EQ Tips

An EQ can be your main weapon for professional sounding mixes & masters if you master the art of equalization. It's the tool engineers use to amplify, attenuate and create space for instruments in the mix.

In this blog post, my goal is to show 7 Pro EQ tips that'll help you to achieve a bit more advanced equalization on your sounds and make better sounding mixes than you did in your last session.

Please avoid copying any strict values you see in this blog post because every single instrument/vocals/mix/master is different and will require different treatment.

Click here to enroll to our EQ Masterclass

Mid/Side EQ on a mix bus

FabFilter Pro Q3 with Side channel HPF activated

When equalizing a mix bus, we usually like to make our low end more mono, while expanding and widening the top end using our side channel shelf filter. Of course, you can use your mid channel filter to increase the impact of the kick or vocals for example. The goal to implementing this method correctly is to be selective in terms of frequency ranges & correct values of dB you're going to amplify/attenuate. Our advice is to avoid using steep filters when you're equalizing your mix bus.

Monitor frequency masking

Pro Q3 offers sidechaining feature which allows us to monitor masking via their spectrum analyzers

Using FabFilter Pro Q3, I can first use proper routing & sidechain feature to monitor where my instruments or vocals are masking. Full guide on how to set this up is available in our EQ Masterclass.
Our vocal is masking with our beat, so once we identified the areas where the masking is, we boosted the vocals (which is not needed always), and we attenuated the beat in the same area where the masking is located at. This process is called "Complementary Equalization".

Inverse EQ Method

Make sure to carefully choose the processing mode for this!
Using FabFilter Pro Q3 I can use the response of our sidechained signal to make our signals the opposite one to another.
I'll first EQ Match them and then reverse the EQ filters completely on one of them. Both EQ Matching & Inverse EQ lessons are fully explained in my EQ Masterclass too!

The important things to consider while doing this are:
1. Which processing mode you're going to use?
2. How many bands are you going to leave on?
3. What should the amount will be on each of them?
4. Does it sound better than before?

Rich Mid-Range

I created a parallel track and sent my signal to it. Each DAW features this feature, so it just might be slightly different to do it on each of the DAWs available on the market.
On the parallel channel I just created, I used an EQ to isolate only mid range frequencies. This can be achieved by using a bandpass filter which actually represent the combination of a high-pass and a low-pass filter focused on the mid range.
Next, I inserted an upward compressor to bring more detail (FabFilter Pro MB). The settings I used are pretty straight-forward. Positive range (to actually trigger upward compression instead of downward), faster attack and faster release while keeping the threshold high so the upward compression triggers as soon as the signal falls down below the specified threshold (the opposite of downward compression). This is not the same as expansion, be careful!
Finally, I blended the dry and wet signal using my parallel fader. A very simple and easy to do step. Adjust to your personal taste.

Parallel Air Band

I created a parallel track and routed my signal to it. The exact same first step as in the previous tip.

Next, I inserted an EQ on that parallel channel I just created and isolated high frequencies only using a high-pass filter. As you can see, I'm going for the very top frequencies since my high-pass filter is placed around 9kHz.
Finally, I blended the dry and wet signal using my parallel fader. A very simple and easy to do step. Adjust to your personal taste.

Left-Right processing method

Thanks to FabFilter Pro Q3, I can make my EQ filters affecting only the Left or Right channel which allows me to make my mixes' stereo image slightly wider and more interesting to listeners. This is an advanced tip you don't really see everyday.

Dynamic EQ

To make the vocals or any instrument pop in the mix, I can use a dynamic EQ filter instead of regular one to gently boost the area I want to affect. The same goes for cutting.
Signals' loudness will trigger the EQ to work which to us sounds super natural.

Conclusion:

Using an EQ to your advantage is crucial to make the mixes and masters sound commercial ready & professional overall. Master the art of equalization with us by getting our EQ Masterclass that features over 5 hours of video lessons. From beginner to pro!

If you want to add a recommendation for the future blog post and get featured on, feel free to reach to our DM on Instagram or use our e-mail address: marko@md3sign.com
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