6 Types of Equalizers (EQs) and When to Use Each One
EQ plugins frequently feature in every mix and audio project. Given their widespread usage, you may get into the habit of using one EQ plugin type for most, if not all, of your EQ adjustments.
While this isn’t necessarily a fatal sonic flaw, your mixes, masters, and live performances can improve when you use the EQ plugin type best suited to specific audio contexts. We’ll give you an overview of EQ types and their characteristics, so you can learn to use the right tool for the job.
General EQ Use
Before we get into the features of each type of EQ, you may want a refresher on how EQs in general work. You may already know that EQs let you cut or boost certain frequencies, but it’s equally important to know about the context in which they operate—the frequency spectrum.
Check out our guide onhow to use EQs to improve your audioto learn more about the frequency spectrum, filter types, EQ parameters, and more.
1. Graphic EQ
Graphic EQs get their name for their visual presentation, which reflects a graph. Typically, you’ll find between 3 and 31 sliders that let you boost or cut a frequency band (a specific range of frequencies) via each slider. The more sliders there are, the greater control you have over which frequency bands to boost or cut.
Graphic EQs are particularly effective in the context of mastering and live performances.
During the mastering process, you may find it easier and more effective to make subtle changes with a Graphic EQ.
In live performances, a sound engineer can quickly manage the good and bad of a room’s acoustics and harsh resonances by quickly adjusting the sliders. Other EQ types may be more precise, but they lose the ease of use of sliders which may be the only option in a live performance.
While you lose some precision, Graphic EQs can improve your overall workflow and let you make quick adjustments easily.
2. Parametric EQ
Unlike other EQ types, Parametric EQ plugins let you adjust not only the gain and frequency of a given track but also the bandwidth (Q). This means that it’s possible to cut or boost a narrow or broad range of frequencies around a set frequency.
Parametric EQs are great for filter sweeps as well as precise subtractive (cutting) and additive (boosting) EQ edits. For precise control of pitch and other tonal qualities, look intohow to use Flex Pitch in Logic Pro to fine-tune your audio.
3. Semi Parametric EQ
Semi Parametric EQs only vary from their fully-parametric counterparts due to the lack of completeQfactor control. Certain Semi Parametric EQ plugins may altogether lack theQparameter or only offer defined values (e.g. high or low Q). This means that you may not be able to narrow down a boost or cut over a set frequency.
Use this EQ type when you’re after broad adjustments to certain frequency bands.
4. Linear Phase EQ
For the most part, Linear Phase EQs work just like Parametric EQs in terms of the different filters and edits you may apply. The key difference relates to how parametric EQs and most analog EQs (also known as minimum-phase EQs) generate a phase smearing effect on edited frequencies. What this means is that frequencies that are boosted or cut become slightly distorted and out-of-phase with the unaffected audio.
Linear Phase EQs shift the out-of-phase audio back into alignment and thus, remedies the phase smearing effect.
You may think this means that this type of EQ is better than their audio-smearing counterparts. While clean aligned audio may be desired in certain contexts, the slight distortion and tonal features that minimum-phase EQs provide can often lead to richer audio. With time and practice, you will begin to hear the difference between minimum-phase and linear phase EQs, where the former creates post-ringing distortion, and the latter creates (hardly noticeable) pre-ringing distortion.
Linear Phase EQs work well when mastering as they let you make subtle changes without adding in post-ringing distortion that could alter tonal characteristics of your audio.
Also, consider using these EQs to lessen the excessive smearing or distorting effect that heavy minimum-phase EQ edits can cause.
5. Dynamic EQ
The additional parameters available in Dynamic EQs allow them to react to any audio signal above a set gain value, and cut or boost that signal as a result. This varies from the static and universally applied frequency cuts or boosts that other EQ types utilize.
Instead, this EQ dynamically adjusts the frequency of audio signal via the use of a threshold, sometimes accompanied by attack and release parameters. In essence, Dynamic EQs have the functions of a compressor integrated into them: a threshold value is set (e.g. -5dB), and any gain value over -5dB will be impacted by your settings. If you’re unsure on what compressors and their parameters do, check out our guide onhow to use compression pluginsto make sure you’re using them to their fullest potential.
Dynamic EQs work best when you have instruments competing over similar frequencies or even melodies with certain sections that overly stick out. Use the threshold parameter to only impact these standout frequencies, and you’ll find that it can gel together a lead vocal, for example, or make space in the mix for similar instrumental parts (such as on a percussion bus).
6. Mid-Side EQ
Certain EQ plugins, like the Linear Phase EQ in Logic Pro, will let you use a Mid Only or Side Only mode. Unsurprisingly, these modes let you adjust the frequency content in the middle or side of the stereo field of your audio project.
This EQ type is often used in the mastering process for its utility in adjusting any excessive buildups of high or low frequencies in the left or right of the stereo field that may be more at home in the middle (mono) channel (such as bass frequencies).
A common cause of such high frequencies buildups can be the use of multiple reverb plugins that may begin in the middle of the stereo field but bleeds out into the sides.
While corrective edits with this EQ type are a good idea, you can also use it to enhance the presence, quality, and stereo width of diverse audio elements. You can tighten up percussive elements by moving out their high frequencies to the side or improve the overall balance of a mix. Experiment with Mid-Side EQs in the mixing and mastering process to further tighten up your audio.
Use the Right EQ for the Job
Once you have a grasp of the fundamentals regarding EQs, it’s time to refine your selection of which EQs you use for certain tasks. When broad changes and ease of use are needed, consider using Graphic or Semi Parametric EQs. Make the most of Parametric EQs for precise edits, and Dynamic EQs to help you tame standout frequencies. Then, use Linear EQs and Mid-Side EQs to clean up your audio when mixing and mastering.
Remember that all EQ types can be used for sound design purposes and thus, benefit from experimentation and creativity beyond standard practices.
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