different genres and eq'ing?!?

[rgraves]

I apoligize if this question has been asked before...but lately I'm working on a wide variety of projects, and never have used EQ much while mixing the smaller projects I have done, but nowadays I have been doing a variety of things from rock and metal to classical and folk, and I am starting to get the impression that it is always good to use EQ at least to cut out frequencies that kind of interfere with other instruments etc. I know this is commonly done, but I was wondering if it was pretty much always done in rock and metal types of songs...I'm not sure if I am just tracking things wrong, or if it is pretty much a given that when you have drums, 2 guitar, vocals, and bass that you will have to roll off certain frequencies in all situations?

Also, if anyone knows about doing string arrangements for rock or folk type songs, is it wise to cut or roll frequencies for those as well? I am doing some songs with about 6 or 7 strings arranged in there, and they seem to sound fine, but I have not ever played with EQ'ing them much, since I never do when I record pure classical stuff, like quartets and the like. But I am thinking it might be different in a busy mix, and was hoping for some feedback on how others approach this type of situation...

Thanks!

 

[LeeRosario]

in terms of different approaches to different genres of music, I'd say that's a very common given.


in terms of always cutting no matter what genre, that really really *really* depends.

I tend to be careful with that word "always" in music production.

 

[SouthSIDE Glen]

There's a couple of oooold cliches in audio engineering...

The first one says, "Use EQ boost to make something sound different, use EQ cut to make something sound better."

The second one says, "The more acoustic or organic the music style, the less you want to EQ it."

Like all such truisms, these are not aways true all of the time, and there will be situations where they are completly inapporpriate. But as general guidelines to keep in one's toolkit, they are both very good to remember.

But the one that applies the best, I think: "Do what the music tells you to do."

This one requires decently-trained ears and decent knowledge/experience regarding actual cause and effect in using audio gear, but really covers the bases the best, I think.

G.

 

[XLR]

I usually avoid EQ in my classical and acoustic gtr stuff, to try to keep the naturalness... controlling EQ balance through room setup, instrument selection and mic placement.

In electric-oriented genres I freely EQ individual tracks (well, rarely more than +-3 dB) to shape them for balance and character in the mix. Doesn't detract in that setting, to my ear if you use a decent EQ. And with collaborative projects you often have no control over tracking of certain parts, so EQ can be even more necessary to fit them with your own.

I spent a few hours mixing in a very well equipped studio recently using a selection of vintage hardware EQs and, man, that's a whole different world... where a you can get a beautiful sound quality really just by the character of the unit - well, assuming a decent track. Like a magic box or so it seemed. But I don't own any EQs of that level so I'm stuck with EQ-as-a-necessary-evil in my home studio.