Should I use EQ when listening to music?

The pic below is a response averaged RTA curve as measured in my wife's car, OEM system, all controls set to flat.
Vehicle manufacturers have done a lot of research to determine the most pleasing response curve for listening to music. Usually there is an elevated region of bass that transitions to flat at ~ 160 Hz, followed by a flat response region from 160Hz to 2Khz, followed by a dip between 2Khz and 6Khz. The car's unit has some built in equalization to ensure this response curve.
While we may or may not choose to duplicate this response in the home setting (one could do worse), there are some critical takeaways with respect to this curve based on the sensitivity of human hearing at a given frequency range.
The absolute key area for pleasing listening is the region that shows a dip between 2Khz and 6Khz. This region contains the frequencies that the ear is most sensitive to. A flat response in this area tends to yield a harsh, fatiguing, overly bright sound perception. Differences of just 1db in this region can mean the difference between a system that sounds good or a system that sounds bad. (See the link below to test your own hearing if interested).
Since the source and amplifier of a decent hi fi system generate a flat frequency response (if non-equalized) the remaining variables to response become the listening environment, the loudspeaker and the recording.
Speaker response and room acoustics (reflectivity) tend to be the key factors. Fortunately most home listening rooms are somewhat forgiving with respect to reflecting / amplifying the ear sensitive frequencies. This leaves speaker response as the predominant variable for determining the measured frequency response at the listening position.
If your speaker has a flat or somewhat rising response between 2Khz and 6Khz, chances are you may not be happy with the sound quality when compared to speakers that do not have such a "bright" response. Your options at that point would be to buy new speakers and play hardware roulette- or introduce some equalization to slightly tame these frequencies.
In the mobile environment with a small cabin surrounded by highly reflective surfaces, equalization is an absolute must for sound quality. In the home setting it is not as critical- however if you are not happy with the sound of your system, a little equalization may prevent you from constantly swapping loudspeakers. If you are happy with the sound of your system, there is a possibility that a small amount of EQ could make it sound even better.

http://www.phys.unsw.edu.au/jw/hearing.html

 

Índice Show

• 1. Turn a Knob Until it Sounds Better
• 2. Additive EQ
• Low Boosts
• Midrange Boosts
• Upper Midrange Boosts
• High End Boosts
• 3. Subtractive EQ
• 4. Exaggerate a frequency boost and sweep to find the worst sounding frequency, then cut that frequency
• 5. Solo a Track
• 6. EQ to a Reference Mix
• 7. Solo Tracks That Work Together
• 8. Don’t Over EQ
• 9. Get the Sound with Something Other than an EQ
• What is the best EQ for listening to music?
• Does EQ ruin sound quality?
• Do audiophiles use EQ?
• Should I use EQ on Spotify?

The following information on EQ is excerpted from the Berklee Online graduate course Advanced Mixing Techniques.

If you’re stepping into music production for the first time, you might be wondering, “What does EQ stand for?” In music, EQ stands for Equalization, which is a plug-in intended to manipulate the frequency content of your recordings, and help all of the elements of your production work together sonically. Every note an instrument plays has a fundamental frequency, and overtones above it, which give it a specific timbre and make it recognizable.

If you’re starting to experiment with how to use equalizer in your production, here are some tried and true equalization strategies:

1. Turn a Knob Until it Sounds Better

I know this may sound facetious, but really this is pretty much what equalizing is all about, don’t you think? Of course there is more to it than this, but let’s hold this principle as a workable bottom line. Also, the opposite of this is true as well; don’t turn a knob and make it sound worse!

2. Additive EQ

Additive EQ is boosting a frequency or frequencies. Boosting is not inherently better or worse than subtractive EQ (cutting). However, what is true is that an EQ boost adds volume to a signal and thus must be managed to avoid distortion. Also, most equalizers alter the harmonic balance such that subtle phase anomalies may occur. This tends to become more pronounced by large boosts.

Boosts also may bring up adjacent frequencies above or below the center let’s say we have a bell boost with a center frequency of 100 Hz. Above that we may also be increasing lower midrange in the 125-200 Hz area, depending on the Q of the boost. If so, we may need to cut at 150 on another EQ band to compensate. Still, adding a frequency is sometimes what is needed to bring a track forward in the mix, differentiating it and bringing clarity to the sonic landscape.

Low Boosts

Low boosts in the 40-100 Hz range add that boom on the bottom, which is especially pertinent for modern kick, bass, and tom sounds. Lower-mid boosts in the 200-600 Hz range can add warmth to a track when needed, such as a thin vocal track, but may also bring unwanted muddiness to the picture.

Midrange Boosts

Midrange boosts in the 1,000-4,000 Hz range can add presence, bringing a track forward and defining it, but may add a nasal, honking quality if overdone.

Upper Midrange Boosts

Upper midrange in the 5,000-9,000 range can add bite to a track but may also add harshness.

High End Boosts

10,000 Hz and above can add air and sheen to a track, but if overdone can make the mix unpleasant to listen to. In other words, please refer to item one in all cases!

3. Subtractive EQ

Cutting frequencies is often about fixing, whether it be cleaning up mud in the low range or lower midrange with high-pass filters, reducing midrange conflicts between instruments to open up a mix, or filtering highs to bandwidth limit and make room for sparkle in other areas. With parametric subtractive EQ, cuts work better with narrower Q settings (bandwidth). It’s not unusual to need many narrow cuts in the midrange to manage harshness and unwanted resonance on tracks such as a lead vocal. Boosts on the other hand sound odd when they are too narrow or overly peaky.

Another thing to keep in mind with cuts is cutting one frequency may create the sonic impression of a boost for another adjacent frequency since the harmonic balance is altered. In that case, a cut in essence becomes like a boost.

4. Exaggerate a frequency boost and sweep to find the worst sounding frequency, then cut that frequency

A great feature with Ozone 8, Neutron EQs, and some other DAW EQs is that you are able to solo a frequency by option-clicking it or anywhere inside the spectrum such that you hear only that frequency. This aids greatly in the above approach.

5. Solo a Track

This is a fine way to get an in-the-ballpark EQ setting, but to really know, you must listen in the context of the whole mix. Still a little judicious soloing can be helpful for focusing.

6. EQ to a Reference Mix

The ear can be a fickle friend. It very rapidly adjusts to what is being heard and accepts it as the new normal. As a result, it is common to lose perspective, particularly after hours of mixing. Mixing to a reference is a great way to bring your ears back to reality.

7. Solo Tracks That Work Together

Here I’m talking about tracks such as kick and bass or acoustic guitar, hi-hat, and tambourine. Work with the EQ on the soloed tracks, making sure that they do not compete for fullness, clarity, or depth.

8. Don’t Over EQ

Sometimes EQ is not needed. Be tasteful and judicious in applying EQ.

9. Get the Sound with Something Other than an EQ

You could try compression or distortion. Both tend to add depth, impact, edge, tone, and that je ne sais quoi attitude.

What is the best EQ for listening to music?

Does EQ ruin sound quality?

Do audiophiles use EQ?

Should I use EQ on Spotify?