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If Your EQ Curve Looks Like a Mountain Range

March 16, 2024 · Beat Kitchen · Mixing

Effects, Synth & Mixing Primer Mixing & Mixcraft

Radical looking EQ curves like the ones shown in advertisements (and in a lot of Instagram) are usually a sign of one of two things: utter genius, or a rookie mistake. My bet is usually on the latter. Use broad strokes unless you need to get surgical. A wide Q for boosts, narrow Q for cuts, but if it starts looking like the Alps, it may be time to go back to the drawing board.

Tags: eq, mixing, audio-engineering

Illustrated mountain range silhouette with text: If your EQ curve starts to look like this, it may mean something is wrong

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Recent Resident Gyms
- OFFICE HOURS: Went through a mix of Alee's and talked about arrangement, distribution of frequencies and lumping in mixes
- THEORY-GYM: We dug into Al Jarreau's "We're in This Love Together" as a live analysis vehicle, unpacking its deceptively simple harmonic language — predominantly plagal motion, super sus chords, and bass-line-driven pseudo-chord changes. From there we traced a sophisticated turnaround section that flirts with a Giant Steps-style modulation before resolving differently, and closed with a brief but rich look at vocal formant production and how great singers physically shape tone without needing the engineer to fix it.
- PRODUCTION-GYM: Breakdown of "Time Moves Slow" by BADBADNOTGOOD, production style, tempo push/pull, song structure, drum texture and keyboard sound
- OFFICE HOURS: We talked about picking monitors and acoustic treatment
- THEORY-GYM: We used Nina Simone's "I Wish I Knew How It Would Feel to Be Free" as a masterclass in arrangement, mix balance, and harmonic construction. Explored how a song with minimal formal structure can build enormous intensity through restraint, dynamic layering, and the deliberate elevation of a single voice above the ensemble. Worked through the chord progression in B-flat, covering secondary dominants, the plagal cadence, sus chords, and invertional analysis (6-3 and 6-4 voicings) in relation to the harmonic series.
- OFFICE HOURS: We talked about producing for other artists and some of the steps required to practice doing so, artist residencies, and going from thinking to doing.
- WEEKLY-BEAT-CHALLENGE: Reviewed beats and tracks submitted by students for the Weekly Beat Challenge. Covered topics ranged from animated/interactive audio installations and code-driven visuals to detailed mix critique — examining dynamics, compression, drum bus treatment, stereo imaging, and the concept of "overworking" a mix. Closed out with some DAW workflow tips including creating click tracks from recorded guitar, using separate drum channels for verse/chorus treatment, and a quick-action loudness tool for macOS.
- INSTRUMENT-GYM: Piano hand independence with basic boogie-woogie piano exercises and blues patterns
- OFFICE HOURS: Bouncing stems in pro tools stems vs track outs Bouncing a track in pro tools Mastering compressor basics signal flow in pro tools
- THEORY-GYM: Bewitched!!! Vintage TV music is the greatest! We explored suspension chords and their relationship to 2-5-1 progressions, using the Bewitched TV theme as a live listening and analysis example. Covered how a C suspended 4 chord functions similarly to a G minor–to–C motion, and how bass lines can imply either a "in two" or "in four" feel over the same harmonic material. We also touched on how the theme evolved across the show's run — changes in instrumentation, orchestration, and swing feel that reflect both budget and era.
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  Mar. 15, 1pm (PT) | 4pm (ET) | 9pm (UK)
- Office Hours: Nathan
  Mar. 15, 5pm (PT) | 8pm (ET) | 1am (UK)
- Weekly Beat Challenge: Nathan
  Mar. 16, 7am (PT) | 10am (ET) | 3pm (UK)
- Office Hours: Jam Phelps
  Mar. 16, 9am (PT) | 12pm (ET) | 5pm (UK)
- Production Gym: Ben Krueger
  Mar. 16, 9pm (PT) | 12am (ET) | 5am (UK)
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  Mar. 17, 7am (PT) | 10am (ET) | 3pm (UK)
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- Apr 02, 2026 Comprehensive Program
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- May 11, 2026 Vocal Kitchen
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