Emphasis processing to tailor effects
Tastier distortion is a few clicks away – you just need to whip up a nice EQ sandwich
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Back in the days of tape recording and vinyl records, music was cut to vinyl with the bass reduced and highs increased. Upon playback, the preamp would apply the opposite EQ curve, pushing the bass back up and reducing the highs. Why? Bass-heavy music takes up more physical space on a vinyl disc.
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We can use the same philosophy to tailor our digital mixing using individual inserts. Think of this technique like a ‘sandwich’ effects processor. Instead of simply adding an effect, we add an EQ both before and after it. Where we boost on one EQ, we make the exact opposite cut on the other.
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Without any effect between the EQs, the sound isn’t changed – the EQs cancel each other out, and we can check that by performing a null test with a phase-inverted duplicated copy of the channel in question.
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But with an effect applied between the two EQs, you can use the first EQ to tailor its processing towards lower or higher frequencies, or any EQ profile you like. The original signal is returned to its previous state by the second EQ, but the changed signal from the middle effect is still there, weighted and balanced to taste.
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Emphasis processing works great with distortion, which often works better with the emphasis placed on low frequencies. How about trying it with a delay plugin or modulation options such as a chorus, or a stereo effect that can widen or narrow the signal? Dynamics effects are usually less relevant to emphasise processing techniques, as a multiband option is often easier.
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For a wiser setup, link the cutoff and gain parameters of both EQs using your DAW’s mapping settings. In Ableton Live, say, you can set the two EQs up in a rack, fully linked and macro controlled. The other advantage here is the ability to save the rack in the browser for later use. Use a basic digital-style EQ, rather than an analogue type, and switch off any proportional Q settings.