ABSTRACT
Engineers in their formative experiences often initially embrace equalisation as it is self-gratifying. When applying even small amounts, the difference can be clearly heard. Dynamics on the other hand are much more challenging to hear until something is obviously wrong or very different. This potential habit of overuse of equalisation to achieve change needs to be undone to get the most out of EQ in the mastering process. In this chapter, the principles of static or momentary processing approach are discussed, and how equalisers work in their circuit design and their potential tool type outcomes are covered. Upsampling in equalisation is an important factor in the creation of the overall filter shape to be formed, as is making clear the difference between processing realms of analogue and digital. Furthermore, types of filters, high pass and low pass, shelving types and the use of ‘Q’ are considered. Changing the resonant element of a shelf and the principle ‘every shelf needs a filter’ are explored in detail. Also explained are the principle of positive equalisation and avoiding a cut. Overall, this chapter is about changing perspectives and starting to think positively in how to embrace the use of equalisation in mastering.
