This is especially true when an engineer is mastering his own mixes (not a great idea, by the way). There’s a tendency to over-compensate with the EQ, adding huge amounts (usually on the bottom end) that wrecks the frequency balance completely. Here are 4 rules on EQing when mastering that come from Mixing And Mastering With T-RackS: The Official Guide that can keep you from getting into trouble and help to make masters sound better than ever.
Rule #1: Listen to other CDs (or high-resolution mixes - no MP3s) that you like first before you touch an EQ parameter. The more CDs, the better. You need a reference point to compare to or you’ll surely over-compensate.
Rule #2: A little goes a long way. If you feel that you need to add more than 2 or 3 dB, you’re better off remixing!
Where in recording, you might use large amounts of EQ (+/- 3 to 15 dB) at a certain frequency, but mastering is almost always in very small increments (usually in 1/10ths of a dB to 2 or 3 at the very most in rare cases). What you will see is a lot of small shots of EQ along the audio frequency band, but in very small amounts.
For example, you might see something like -1 at 30hz, +.5 at 60Hz, .2 at 120Hz, -.5 at 800Hz, -.7 at 2500, +.6 at 8kHz and +1 at 12. Notice that there’s a little happening at a lot of places.
Seriously though, if you have to add a lot of EQ, go back and remix. That’s what the pros do. It’s not uncommon at all for a pro mastering engineer to call up a mixer and tell him where he’s off and even ask him to mix it again.
Rule #3: Keep comparing the EQ’d version with the original version as well as other songs that you’re mastering. The idea of mastering, first of all, is to make the song or program sound better with EQ, not worse. Don’t fall into the trap where you think it sounds better just because it sounds louder. The only way to do this well is to have the levels pretty much the same between the EQ’d and pre-EQ’d tracks. That’s one of the reasons why IK Multimedia’s T-Racks works great for mastering. It has an A/B function that allows you to compensate for the increased levels so that you can really tell if you’re making it sound better or not.
Rule #4: Keep comparing the song you’re currently working on to all the other songs that you've mastered. The idea is to get them to all sound the same. It’s pretty common for mixes to sound different from song to song even if they’re done by the same mixer with the same gear, but it’s your job to make the listener think that the songs were all done on the same day in the same way. They’ve got to sound as close as possible to each other as you can get them, or at least reasonably close as to not stand out.
As you can see, equalization in mastering isn’t that difficult as long as you keep in mind exactly what you’re trying to do, which is to make a group of songs sound like they belong with each other.
You can read additional excerpts from Mixing and Mastering With T-RackS and my other books on the excerpt section of bobbyowsinski.com.
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