For linear-phase applications, the best freeware options I’ve found so far is LKJB’s QRange, although you might want to try DDMF’s affordable LP10 if you want even more flexibility.
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(Check out this article for some tips on getting the best out of it.) Melda’s freeware MEqualizer is also good, especially for its ability to control a whole series of harmonically related notches simultaneously (although I find the affordable Voxengo GlissEQ plug-in even better for that specific scenario). Compare these two snare recordings from Mix Rescue April 2010, for example, the first processed with traditional minimum-phase EQ Ex11.14: WAV/ MP3 play_arrow, and the second with a linear-phase design Ex11.15: WAV/ MP3 play_arrow.Īffordable EQ Plug-ins: Cockos’s freeware ReaEQ is a good all-rounder, which I end up using for probably 80 percent of my mix work. Pre-ringing Side-effects Of Linear-phase EQ: Although linear-phase EQ has a lot of benefits, it’s not without some side-effects, most notably the odd pre-ringing effect you can sometimes get when using narrow peaking filters. But it’s not just cuts that are useful, because on occasion you want to actually emphasise a signal’s pitched component, as was the case in Mix Rescue May 2011, where an over-fuzzed rhythm guitar part Ex11.20: WAV/ MP3 play_arrow was given more note definition using two sets of four narrow pitch-related EQ peaks Ex11.21: WAV/ MP3 play_arrow.
A similar approach can be used to reduce the levels of certain pitched notes within a mixed sample, as in this case Ex11.18: WAV/ MP3 play_arrow where five different sets of EQ notches were used to reduce the level of the guitar part relative to the vocal Ex11.19: WAV/ MP3 play_arrow.
A series of narrow EQ notches at multiples of the hum’s fundamental frequency (50Hz in Europe, 60Hz in the US) can deal with this problem very effectively Ex11.17: WAV/ MP3 play_arrow. The most common trouble-shooting application for this is getting rid of electrical mains hum/buzz from a recording such as this guitar part Ex11.16: WAV/ MP3 play_arrow from Mix Rescue February 2007. Pitch-related EQ: In some situations it’s useful to target EQ specifically at the fundamental frequency and harmonics of certain pitches. For a more real-world example, check out my Mix Rescue May 2010 remix, in which equalisation was used primarily for dealing with masking issues Ex11.04: WAV/ MP3 play_arrow, and then notice the loss of clarity in this version of the same mix where I’ve bypassed all the EQ plug-ins Ex11.05: WAV/ MP3 play_arrow. In order to return the vocal to something like its original tone, I would have to boost its high frequencies by several decibels with EQ, as in this file Ex11.03: WAV/ MP3 play_arrow. The vocal signal is no different – it’s just that its upper frequencies are now being masked by the noise source. Unmasking With EQ: To help illustrate the effect of frequency masking, first listen to this small vocal snippet Ex11.01: WAV/ MP3 play_arrow, and then listen to how its subjective tone changes when it’s layered with a high-frequency noise signal Ex11.02: WAV/ MP3 play_arrow.
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(To download all WAV examples at once: 100MB ZIP)
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