EQ or compression first? Ah yes, the eternal mixing debate—right up there with “pineapple on pizza” and “do we really need another reverb plugin?”
This week on Inside the Recording Studio, Chris and Jody wade right into the swamp of EQ vs compression order, giving you the straight dope on what happens when you put EQ before compression, after compression… or, because we all love chaos, both.
Let’s start with the classic approach: EQ before compression. Think of it like tidying up your living room before guests arrive. You cut the mud, roll off that rumble, and make sure your signal is presentable before handing it to the compressor. That way, the compressor isn’t wasting energy trying to clamp down on stuff you didn’t want in the first place. Kicks get tighter, vocals stay cleaner, and suddenly your mix sounds less like a swamp monster and more like an actual record.
But then there’s EQ after compression—the “dessert first” approach. Sometimes you want the compressor to react to the raw, unfiltered tone, and then you sweeten things afterward. This is where you boost the sparkle, add some sheen to vocals, or fatten up the bass after the compressor has already done its job. Think of it as putting the icing on the cake after it’s baked. No one eats cake batter with frosting (okay, maybe some of us do).
Of course, this is Chris and Jody we’re talking about, so things don’t stay neat and tidy for long. Enter the world of double EQ and double compression. Yep, you read that right. EQ → Compression → EQ → Compression. Is it overkill? Sometimes. Is it necessary? Also sometimes. When done right, it’s like layering seasoning in a recipe—you add a little salt early on, then adjust the flavor later to taste. When done wrong, well, let’s just say you end up with an overcooked mess that even your cat won’t eat.
Throughout the episode, Chris and Jody share real-world examples of when they’d pick one method over the other. Want vocals that cut without being harsh? Maybe try EQ before compression. Want drums that slam but still shimmer? Try compressing first, then EQing the results. They’ll talk about the quirks, the happy accidents, and even the times they’ve completely overcooked a chain just to see what would happen. Spoiler: nonsense is definitely discussed.
And here’s the kicker—none of this is a “one size fits all” answer. The order of EQ and compression isn’t about hard rules, it’s about intent. Do you want to shape what the compressor reacts to? Or do you want to shape the sound after it’s been leveled out? Both are valid. Both are powerful. And both can make you pull your hair out if you overthink it.
So, if you’ve ever found yourself rearranging plugins in your DAW at 2 a.m. muttering, “Why does this still sound bad?!”, this episode is for you. Chris and Jody bring the laughs, the lessons, and the honesty that yes—even pros get tripped up sometimes.
Because at the end of the day, EQ before compression, EQ after compression, or EQ both sides like a sandwich—it’s all fair game. Just don’t forget to actually listen.
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Gear we used:
Jody’s Mic & Voice Chain: Telefunken C12 – Groove Tubes Vipre – Apollo – UA Neve 1073 – UA LA2A – UA Studer A800
Jody’s Channel Strip: iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E
Chris’ Mic & Voice Chain: Slate ML1 – Apollo – UA – Slate VMR (FG12, FG73, API Eq, SSL 4kE) – iZotope RX Voice – DeNoise
Chris’ Channel Strip: Eventide Precision Time Align – iZotope RX Spectral DeNoise – iZotope RX Mouth DeClick – UA Neve 1073 – UA LA2A – UA 1176E
Master: Oek Sound Soothe 2 – iZotope Ozone Imager – iZotope Ozone Maximize.
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