EQ (or Equalization) is a fundamental part of dance music production. This tutorial will analyse the use of EQ to solve some common production problems.
If you solo the individual parts in a dance music piece, it becomes very obvious to the human ear where the particular fundamental frequencies lie on the sonic spectrum. Basslines may have a large concentration of low end frequencies at 60 Hz, whereas other percussive elements commonly have a presence at 1-6 kHz. Percussive sparkle is found in the 8-12 kHz area, which is a range not typically occupied by bass. Making sure that instruments do not overlap their frequencies is key to producing a balanced sonic landscape.
Unmasking the Frequencies
Parts that share certain frequencies can cause serious problems when mixed together. Commonly called ‘frequency masking’, this can result in sounds losing their structure and an introduction of unwanted gain.
In order to effectively counter the unwanted side-effects of frequency masking is to apply EQ to strip away the problem frequencies from one or more of the instruments. This will help to carve a space in the sound spectrum frequencies that may then be occupied by other parts.
A common example of frequency masking is when a bass instrument and kick drum overlap on a beat. It is not uncommon for two parts such as these to share bass frequencies which can cause problems when they are played simultaneously. If this issue cannot be resolved by changing the programming of the notes, a degree of Equalization can be applied. Reducing the volume of the bassline at approximately 60 Hz by using an Equalization cut could prevent the frequencies of the kick drum from being masked by the bass at around 60 Hz in the mix.
Using EQ in this manner can help to achieve greater sonic balance in music productions, as every instrument is given its own space to exist within the frequency spectrum.