ABOUT EQUALIZATION

Although the temptation is often great, the novice production sound mixer should avoid attempting to "improve" location soundtracks by means of equalization. Adjusting the highs, mid-range, and bass from shot to shot may sound fine in the headphones, or even in dailies, but when shots are intercut during the editing process, changes in voice and backgrounds often become annoyingly apparent.

Any equalization one chooses to employ during the course of the production should remain consistent throughout the audio tracks. For instance, some mixers like to add a pinch of mid-range boost to enhance the clarity of the dialogue - and this same setting is used virtually all of the time, regardless of actor or location.

It is common for mixers to "roll off" excess bass, since the extreme low frequencies contain rumble and wind noise. Low frequencies are often not accurately reflected by many audio level meters, and low frequency noise can contribute to overload distortion. On interior sets, use a mild bass "roll off", around -6 dB at 90 Hz. Exteriors often call for a more severe low cut, around -6 dB at 150 Hz.

Finally, use EQ sparingly. If in doubt, leave everything in the "normal" positions. Any EQ changes that are necessary to improve the track are best left for post-production, where "improvements" can be timed, rehearsed, previewed, and undone when they don't work!

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