Audio Recording with Equalizers – 10 EQ Modes – Part 1 – Introduction
In the previous series on EQ’s, I outlined 5 specific types of Equalizers. There are a lot of ways to categorize EQ’s and the ways they’re the most instrumental and useful. Here, I’m providing a categorization that helps us look at EQ’s the way they’re best utilized for different functions.
I’d like to share what I am outlining as 10 EQ modes that you’ll come across.
This can help you learn to select the right tools for the job.
By learning these EQ modes, you’ll become familiar with the best options for what to use at a given time.
The term “mode” is used in a broad context for this series of articles to make the concept the most beneficial to you. Each EQ “mode” performs a function(s) that is very specific and unique.
In the same way that every recording is unique, you can imagine the range of possibilities is pretty amazing.
Here’s the breakdown of EQ modes:
Boost and Cut
Fixed versus Variable Frequency
Linear Phase versus Minimal Phase EQ
Clean or Colorful
Fixed “Q” width versus Variable “Q” width
High Pass, Low Pass
High Cut, Low Cut
Band or Bell Shape
Graphic or Parametric
For each of these modes, many EQ’s are designed with different combinations. Some have 3 or 4 fixed bands with shelf EQ on the bass and treble bands, with a middle frequency band in a fixed bell shape, also called band pass. Other EQ’s may allow you to switch between bell and shelf on highs and lows.
By gaining a deep understanding of each EQ mode, you can select the right EQ for different tasks, and also gauge when very specific tools serve you well compared to other designs that are more flexible.
In Part Two of this series, we’ll take a look at Boost and Cut EQ Modes.