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I am in agreement as well.

Part of my reasoning is that I rarely, if ever, boost too much with EQ. If I can't get it mostly right at the source, I have more work to do at the source. Now, room modes or resonances that sound wonky, I'll cut those, but I don't boost too much.



Exactly, I learned this right on this forum either from you or Mac or probably both. If a track needs more highs, don't boost the highs, cut everything else. Also another good tip is to look at each instrument and completely cut the freq's that are out of range of that instrument like anything over 3K for a bass or anything below the appropriate freq for vocals, horns, guitars that kind of thing. I will listen to each track with an ear towards cutting as much as I can without degrading the instrument. This will really clean up a mix and let each part sit in it's own space.

Bob



I'm pretty sure this was a tip I learned here a very long time ago, but I've seen it confirmed in print and in personal experience on so many occasions I couldn't count them up.

There's another little EQ tip that has nearly become a 'rule' to me. On the lion's share of tracks, kick and bass guitar/line excepted, there's really no reason to have content down below 200 Hz or so. I read this particular tip from the dance music producer, BT, in an interview in Computer Music magazine.

Now I tend to put a high-pass filter as the first in the signal chain on nearly every audio track I record and run the cutoff frequency from anywhere from 150 Hz on up to even 300-400 Hz, depending on the source. Only when I start to notice the life leave a track will I then back that frequency down. It is amazing how this opens up a song and puts a shine on things. People will use all sorts of words for it - clarity, spaciousness, etc. Very very effective on vocals - particularly for 'pop music' type vocals.

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