Dynamic EQ is what you reach for when a static EQ cut feels like overkill. It’s the difference between “remove the problem forever” and “only fix it when it happens.” In other words: EQ with manners.

If you’ve ever thought:

• “This vocal is only harsh on the loud words,”
• “Those cymbals are fine… until they suddenly aren’t,”
• “That guitar is cool… except when it stabs me in the forehead,”
• “My low-end changes mood every two bars,”

…dynamic EQ is your solution..

What Dynamic EQ actually does

A static EQ applies the same boost/cut all the time.

A dynamic EQ applies a boost/cut only when a band crosses a threshold (or based on incoming level), then relaxes back when it doesn’t.

Think of it like:

• EQ curve (where)
• plus compression behavior (when + how much)

Dynamic EQ vs Multiband Compression

They overlap, but they’re not the same:

• Dynamic EQ: targets a specific frequency with a precise Q (surgical, transparent).
• Multiband compression: controls a wide band with crossovers (great for broad control, easier to overdo).

For most “problem frequencies,” dynamic EQ is the cleaner tool.

Plugins you can use (free + paid)

Free

• TDR Nova (dynamic EQ workhorse): https://www.tokyodawn.net/tdr-nova/
• Voxengo SPAN (analyzer for finding hotspots): https://www.voxengo.com/product/span/

Paid

• FabFilter Pro-Q 4 (dynamic bands + fast workflow): https://www.fabfilter.com/products/pro-q-4-equalizer-plug-in
• oeksound soothe2 (automatic resonance control for “moving harshness”): https://oeksound.com/plugins/soothe2/

You can do 90% of dynamic EQ life with TDR Nova + SPAN. The paid stuff mostly buys speed and “less fiddling.”

The 5 controls that matter (so you don’t get lost)

Regardless of plugin, focus on these:

1. Frequency + Q
   Where the problem lives, and how narrow you target it.
2. Threshold
   When the dynamic action starts.
3. Range (or Amount)
   The maximum cut/boost allowed.
   Pro tip: Range is your “don’t ruin my tone” safety belt.
4. Attack / Release
   • Faster attack catches sharp peaks (ess, cymbal spikes)
   • Slower attack can preserve transient snap
   • Release sets how natural it returns
5. Detector mode / Sidechain (if available)
   Internal detection is fine most of the time. External sidechain is gold for kick/bass control.

A repeatable setup workflow (fast and clean)

Step 1: Find the real offender

• Use your ears first.
• Confirm with SPAN if you’re unsure: https://www.voxengo.com/product/span/

Step 2: Start with dynamic cuts, not boosts

Most mixing problems are excess energy (harshness, boom, resonances).

Step 3: Use small ranges

A great starting point:

• Range: -1.5 dB to -4 dB
  If you need -10 dB, it’s probably not an EQ problem anymore (arrangement, source, distortion, cymbal choice, etc.).

Step 4: Level-match and A/B

If it sounds “better” only because it got quieter, congratulations: you discovered the oldest trick in audio.

Concrete Examples

1) De-essing with Dynamic EQ (natural vocal, less lisp)

Use dynamic EQ when sibilance is inconsistent (only on certain words).

Where to look

• Most voices: 5–9 kHz
• Some “sharp” vocals: 9–11 kHz
• “T” and bite sometimes lower: 3–5 kHz

Recommended tool

• TDR Nova (free): https://www.tokyodawn.net/tdr-nova/
• Pro-Q 4 (paid): https://www.fabfilter.com/products/pro-q-4-equalizer-plug-in

Starting settings (safe)

• Band: bell, Q 3–6
• Range: -2 to -5 dB
• Attack: 0–5 ms
• Release: 40–120 ms
• Threshold: set so it only triggers on “S / SH / CH”

Pro move: If the vocal gets dull, you’re cutting too wide or too deep. Narrow the Q slightly, reduce range, or move higher.

2) Anti-harsh cymbals (control spikes without killing shimmer)

Cymbals are classic “fine until they aren’t.” Static cuts often remove life.

Where to look

• Harsh “ice pick” energy: 3–6 kHz
• Brittle splashiness: 6–9 kHz
• “Air hiss” issues: 10–14 kHz (less common, but it happens)

Recommended tool choice

• TDR Nova (free) for targeted harsh peaks: https://www.tokyodawn.net/tdr-nova/
• soothe2 (paid) when harshness moves constantly: https://oeksound.com/plugins/soothe2/

Starting settings (Nova)

• Band: bell, Q 2–4
• Range: -2 to -4 dB
• Attack: 1–10 ms
• Release: 80–200 ms
• Trigger it only when cymbals spike (not on steady sustain)

When soothe2 wins

If you’re hunting 6 different resonances across the cymbal range, soothe2 is faster and often smoother. It’s basically “dynamic EQ with a pilot’s license.”

3) Guitar too aggressive (keep bite, lose pain)

This is usually 2–4 kHz (the “my ears are filing a complaint” zone), but can vary with amp sims and distortion.

Where to look

• Bite/edge: 1.5–3.5 kHz
• Fizz/rasp: 4–8 kHz
• Nasal/honk: 700 Hz–1.2 kHz

Recommended tools

• Pro-Q 4 (paid, quick surgical control): https://www.fabfilter.com/products/pro-q-4-equalizer-plug-in
• TDR Nova (free): https://www.tokyodawn.net/tdr-nova/

Starting settings (works well)

• Band: bell, Q 2–5
• Range: -1.5 to -4 dB
• Attack: 5–20 ms (preserves pick transient)
• Release: 60–150 ms

Pro move: Put the dynamic EQ on the guitar bus if you have layered guitars. You often solve the “sum harshness” better there than on each track.

4) Unstable low-end (bass notes that jump out, kick/bass fighting)

This is where dynamic EQ becomes your low-end therapist.

Problem A: Bass notes boom inconsistently

Use dynamic EQ to tame only the hot notes.

Where to look:

• Fundamental zone often 60–120 Hz
• Boom/body often 120–200 Hz

Starting settings:

• Range: -2 to -5 dB
• Attack: 10–30 ms
• Release: 120–300 ms
• Q: 1.2–2.5 (don’t go too narrow in low-end)

Tool:

• TDR Nova: https://www.tokyodawn.net/tdr-nova/
• Pro-Q 4: https://www.fabfilter.com/products/pro-q-4-equalizer-plug-in

Problem B: Kick and bass collide (the classic)

Best method: sidechain dynamic EQ on the bass, keyed from the kick (if your plugin supports external sidechain).

Goal:

• When kick hits, bass briefly ducks only at the kick’s fundamental area (e.g., 50–80 Hz), instead of compressing the whole bass.

If your setup supports it, do it in Pro-Q 4 (fast and clean):
https://www.fabfilter.com/products/pro-q-4-equalizer-plug-in

If not, you can still do a solid job with standard dynamic EQ + careful arrangement, or a dedicated sidechain approach in your DAW.

Quick “rules” that keep dynamic EQ transparent

• Prefer small ranges over heavy cuts.
• If it sounds like EQ is “moving,” your timing is off (adjust attack/release).
• Dynamic EQ is best for problems that vary. If the issue is constant, a static EQ cut is often simpler.
• Always A/B in the mix, not in solo.

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