Crafting Clarity: Shaping Sound with the FabFilter Pro-Q EQ Plugin

Incorporating an EQ into your setup is not just a suggestion; it's necessary for a seamless recording experience.

We use an EQ in several ways, including troubleshooting problem frequencies, tone shaping, filtering, and special effects.

The EQ is at the heart of your mixing and sound sculpting process, followed by a compressor and time-based effects. While other tools may be enticing, the first steps almost always involve EQ and compression.

I like to classify EQ into two categories: 1: Surgical and 2: Tone Shaping.

Each EQ category is essential, and I carefully choose which EQ tools I will use for the task.

Tip: You don't need a stockpile of EQ plugins. You should find one or two of each category and truly get to know them.

These days, in the world of plugins, it's easy to acquire many options that can cloud our brains when making decisions or choosing the right tool for the job.

I love the sound of API EQ. Therefore, I use the UAD API EQ plugins for my tone-shaping duties when I want an EQ to impair a color on the sound.

I consider these EQ general-use color shifters. But sometimes, I need to get more specific about troubleshooting a sound, and I don't want an EQ to add more color to my sound.

I reach for the Fab Filter Pro Q3 parametric EQ for surgical duties. It just doesn't get any better than that.

Hearing is Believing

I'm sensitive to sound. I can hear small fluctuations. Years ago, an intern was mixing for me, and something stuck out about the tone. I asked if they were using the Pro Tools EQs. They said yes. I heard the sound of the Pro Tools EQ, which I don't like. I asked the intern to change the EQ, and the mix improved dramatically to my ears.

Some people proclaim there is no difference in EQ plugins or that the Pro Tools EQ doesn't have a sound. Just because some can't hear it doesn't mean it doesn't exist. Some people have different hearing sensitivity.

I can tell you that Pro Tools and Logic EQs have a sound, which frustrated me when I tried to use them.

When I finally discovered the Fab Filter Pro Q3, I was skeptical as I hadn't found a parametric EQ I liked all that much in the plugin world.

It didn't take long to fall in love with the Pro Q3. First of all, it doesn't impair any color on your signal. I'm a big fan of coloration, except for a parametric EQ. I want my parametric EQ to be clean.

Layout

Because a parametric EQ is often used surgically, it's helpful if the plugin's navigation is easy. I have found many parametric EQs to be clumsy and slow.

The layout of the Pro Q3 is slick but packed with features that go beyond other EQs. I will focus on how I use the Fab Filter Pro-Q3, but I encourage you to go to the Fab Filter website and look at the complete feature list, as it's pretty impressive.

“The layout of the Pro Q3 is slick but packed with features that go beyond other EQs”

Operation

Sometimes, you record an acoustic guitar, and a resonant frequency pops out. I will use the Pro-Q3 to track down that frequency and pull it back using the notch mode or a sharp bell shape, depending on how extreme I need to cut the resonance.

The Pro Q-3 has a real-time spectral visualization of the sound. Sometimes, you can see a frequency popping out. Fab Filter Pro Q3 lets you put your mouse on that popping frequency and pull it down.

The Pro Q-3 also allows us the flexibility to solo a frequency and sweep until we find the offender.

Each of these options speeds up my workflow considerably. I often reach for these notch-tweaking features on acoustic guitars and snare drums.

Dynamic EQ

The Fab Filter Pro-Q3 has a beneficial dynamic EQ feature. Theoretically, the dynamic EQ works similarly to a compressor but with frequency rather than gain level.

You can set the dynamic EQ to "compress" a frequency if it passes a certain threshold. Until it passes that threshold, the sound remains the same, which results in a less destructive EQ.

Dynamic EQ can be handy for controlling string noise. You can find the frequency that is popping out when the guitarist is moving their hands on the neck of the guitar and tell the Pro Q3 to reduce that frequency when it gets too hot.

I recently used the Dynamic EQ feature on a track I was engineering for Abby Ahmad. Abby unusually played an autoharp by striking the strings with a metal straw instead of a pick. The resulting tone was more reminiscent of a harpsichord in some ways.

Some hits from the metal straw on the autoharp were popping out at a particular frequency. I didn't want to cut that frequency, as it was taking away the presence that I liked. The dynamic EQ was perfect for the job, as it only cut the offending frequency when it popped out. Wonderful tool!

Filtering

There is some controversy about filtering. Some believe that filtering a signal changes its phase. Technically, that is correct. However, we must consider the situation and whether the phase change is worth worrying about.

Filtering helps your mix. When recording, you will notice frequencies you can't hear. Often, subfrequencies you don't know are there that end up masking your mix or triggering a compressor in an unwanted manner.

A philosophical problem presents itself. Do you worry about a high-pass filter slightly changing the phase of your signal or the masking in the mix?

In general, as long as you're not filtering too aggressively, the phase change will not be a real issue, and you will likely not hear a difference. Always remember to test with your ears.

Fab Filter Pro-Q3 has a natural phase mode that keeps the signal in phase. There is a page on their website that has more details on how Fab Filter handles phases with a graph.

Filtering with the Fab Filter Pro Q3 allows you to maintain a phase that other EQs don't.

There is even a linear phase mode that ensures accurate phase. The linear phase mode is most helpful in mastering, where these types of phase issues are a bigger problem.

As you can tell, Fab Filter Pro-Q3 is a better tool for filtering unwanted frequencies to clean up a mix and reduce phase issues.

Polarity Button

The Fab Filter Pro-Q3 has a polarity switch, which is convenient when working with multiple mics and recording the same sound source.

In Shape

The Pro Q3 gives us a variety of shapes to play with, such as Bell, Notch, High/Low Shelf, High/Low Cut, Band Pass, Tilt Shelf, and Flat Tilt.

“The Pro Q3 is a utility knife of EQs but don’t let its utilitarian uses conceal its exceptional design and sound. ”

The Pro Q3 is a utility knife of EQs but don’t let its utilitarian uses conceal its exceptional design and sound. The Pro Q3 will be one of the most essential plugins you purchase.

Another problem with guitar and bass is the low frequency of popping out. With acoustic guitar, this has to do with mic placement. If you place a mic too close, you get a proximity effect. Specific low frequencies may pop out more than others, making the acoustic guitar sound unbalanced.

Ideally, the mic should be moved during the session; however, sometimes mics are placed closer due to surrounding noise issues. Other times, there is no going back due to an improperly recorded track.

I use the Pro Q-3 to find these booming low frequencies and reduce them tolerably.

A similar issue may arise with upright and electric bass, where some pitches jump out. I will find these pitches with the Pro Q3 and balance them before I compress the bass signal.

I find the Fab Filter Pro-Q3 an essential recording and mixing tool. Visit the Fab Filter website for more details.