Implementation approaches and strategies in the use of equalizer in music production: A systematic review

Year 2025, Volume: 13 Issue: 3, 329 - 353, 30.09.2025

Ali Delikara

https://doi.org/10.12975/rastmd.20251335

Abstract

he equalizer, a fundamental tool in the disciplines of music production and audio engineering, is one of the most important elements that shape the timbral qualities of sound, its perceptual clarity, and its hierarchical balance within the mix. With the proliferation of digital audio processing technologies, access to this tool has become easier, but this technological democratization has also brought about a serious competency problem. When inexperienced users, in particular, use equalizers without the necessary technical and theoretical background, this leads to fundamental production errors such as frequency masking, timbral muddiness, and the loss of natural qualities of the processed sound. The literature demonstrates that amateurs interested in the field experience cognitive difficulties in the face of the complexity presented by digital interfaces and tend to perceive equalizers as a magical tool promising instant solutions. The main motivation for this study is the paucity of academic studies that present a systematic synthesis of technical and practical information found scattered in the relevant literature and transform these elements into teachable pedagogical approaches. The aim of this research is to fill this academic-pedagogical gap. To this end, a systematic review model of qualitative research designs was designed based on the PRISMA 2020 guidelines. 49 academic and technical documents, selected based on a comprehensive literature review and predetermined criteria, were analyzed through content analysis. The analyses revealed that approaches to equalizer use in the literature can be structured under three fundamental frameworks: a corrective approach aimed at resolving technical issues, a shaping approach aimed at enriching the aesthetic character of sound, and a creative approach that transforms sound into a means of artistic expression. The practical application of each approach is illustrated with schematic diagrams. These frameworks are supported by key concepts from the literature, linking them to the “problem-solving” philosophies of experts such as Owsinski and Senior and the “tone perception” studies of researchers such as Dobrowohl. In conclusion, this research fills an important gap in the field by offering a holistic perspective that removes the use of equalizer, a multi-layered competency, from random trials and makes it more understandable, conscious, and teachable.

Keywords

equalizer , music production , music technology , signal processors , sound engineering

Ethical Statement

There is no conflict of interest in this research, which does not require ethics committee certification.

Supporting Institution

This research received no financial support from any institution.

Thanks

This research does not require ethics committee approval and has no conflicts of interest. I would like to thank Mr. Ender Birer for his valuable technical contributions in the preparation of Figure 2.

Implementation approaches and strategies in the use of equalizer in music production: A systematic review

Abstract

The equalizer, a fundamental tool in the disciplines of music production and audio engineering, is one of the most important elements that shape the timbral qualities of sound, its perceptual clarity, and its hierarchical balance within the mix. With the proliferation of digital audio processing technologies, access to this tool has become easier, but this technological democratization has also brought about a serious competency problem. When inexperienced users, in particular, use equalizers without the necessary technical and theoretical background, this leads to fundamental production errors such as frequency masking, timbral muddiness, and the loss of natural qualities of the processed sound. The literature demonstrates that amateurs interested in the field experience cognitive difficulties in the face of the complexity presented by digital interfaces and tend to perceive equalizers as a magical tool promising instant solutions. The main motivation for this study is the paucity of academic studies that present a systematic synthesis of technical and practical information found scattered in the relevant literature and transform these elements into teachable pedagogical approaches. The aim of this research is to fill this academic-pedagogical gap. To this end, a systematic review model of qualitative research designs was designed based on the PRISMA 2020 guidelines. 49 academic and technical documents, selected based on a comprehensive literature review and predetermined criteria, were analyzed through content analysis. The analyses revealed that approaches to equalizer use in the literature can be structured under three fundamental frameworks: a corrective approach aimed at resolving technical issues, a shaping approach aimed at enriching the aesthetic character of sound, and a creative approach that transforms sound into a means of artistic expression. The practical application of each approach is illustrated with schematic diagrams. These frameworks are supported by key concepts from the literature, linking them to the “problem-solving” philosophies of experts such as Owsinski and Senior and the “tone perception” studies of researchers such as Dobrowohl. In conclusion, this research fills an important gap in the field by offering a holistic perspective that removes the use of equalizer, a multi-layered competency, from random trials and makes it more understandable, conscious, and teachable.

Keywords

equalizer , music production , music technology , sound engineering , signal processors

Ethical Statement

There is no conflict of interest in this research, which does not require ethics committee certification.

Supporting Institution

This research has not received financial support from any institution.

Thanks

I would like to thank Mr. Ender Birer for his valuable technical contributions in the preparation of Figure 2, "Frequency ranges of musical instruments and human voices."

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