BootEQ MKII: Essential Tips to Get the Best Tone

How to Use BootEQ MKII for Mixing and Live SoundThe BootEQ MKII by Audified is a flexible, analog-style equalizer plug-in inspired by classic console EQs. It’s popular for its musical curves, transformer saturation emulation, and workflow-friendly interface. This article covers practical techniques for using BootEQ MKII in both studio mixing and live-sound situations, with settings, signal-chain tips, and examples for common instruments and vocals.

Why BootEQ MKII is useful

• Musical character: Its filter shapes and harmonics emulate analog consoles, adding pleasing coloration.
• Flexible topology: Separate high/low shelving and two parametric bands allow both broad tonal shaping and precise surgical control.
• Subtle saturation: The transformer/harmonic section imparts warmth and perceived loudness without obvious distortion.
• Phase-friendly: The design keeps phase behavior musical, which helps when working with multiple mic sources or parallel processing.

Understanding the controls (quick overview)

• Input/Output: control gain staging; use Input to drive saturation and Output for makeup gain.
• High/Low Shelves: broad tone shaping with selectable frequency points.
• Parametric Bands (Mid1, Mid2): adjustable frequency, gain, and Q for boost/cut.
• HPF/LPF (if present): remove rumble or tame highs.
• Transformer / Saturation: controls harmonic content and overall color.
• Bypass / A/B: compare processed vs unprocessed quickly.

Tip: Use the Input to add subtle harmonic content; don’t rely solely on big boosts to sound “warmer.”

General mixing workflow with BootEQ MKII

1. Gain staging: Insert BootEQ early in the chain (often as the first plugin after any corrective tools). Adjust Input so the meter shows moderate levels; drive it slightly for saturation when desired. Use Output to compensate.
2. Subtractive first: Cut problematic frequencies before boosting. Broad cuts often yield more natural results than narrow boosts.
3. Musical boosts: When boosting, use wider Q settings for musicality; narrow Qs for surgical removal.
4. Compare: Use bypass or A/B switching to check whether changes improve the mix, not just add character.
5. Parallel processing: Duplicate the track, apply heavier EQ and saturation on the duplicate, then blend for weight without losing clarity.
6. Automation: Automate small EQ changes for different song sections if needed (e.g., slight top boost on choruses).

Mixing examples and starting points

Below are practical starting points. Always adjust by ear.

• Kick drum

  • HPF off (unless sub rumble needs trimming)
  • Cut 200–400 Hz (0.5–2 dB) to remove boxiness if needed
  • Boost 50–100 Hz (1–3 dB) with wide Q for weight
  • Slight saturation via Input for added attack/presence

• Snare drum

  • Cut 250–400 Hz for boxiness (1–3 dB)
  • Boost 3–6 kHz (1–3 dB) for snap with medium Q
  • Use transformer for thicker body

• Bass

  • HPF cautiously (e.g., 30–40 Hz) to remove sub rumble
  • Boost 60–100 Hz (1–4 dB) for fundamental
  • Cut 250–400 Hz if muddy
  • Add slight harmonic saturation to help bass cut through small speakers

• Electric guitar

  • High-pass around 80–120 Hz to clear low-end
  • Cut 300–600 Hz for muddiness
  • Boost 2.5–6 kHz for presence and pick attack (narrow-to-medium Q)
  • Use transformer for a thicker midrange

• Acoustic guitar

  • HPF 70–100 Hz
  • Cut honky 200–500 Hz
  • Boost 3–8 kHz for sheen
  • Use gentle saturation if you want more body

• Lead vocal

  • HPF 60–120 Hz depending on voice
  • Cut 200–400 Hz for muddiness
  • Boost 3–6 kHz for clarity and presence (0.5–3 dB)
  • Add subtle transformer warmth or saturation to glue the vocal into the mix
  • Use narrow cuts for resonances; wider Q for tone shaping

• Backing vocals

  • Similar to lead but with reduced boost amounts; use high-pass more aggressively to leave room for lead vocal.

Using BootEQ MKII for surgical tasks vs. tonal shaping

• Surgical: Use narrow Q and moderate cuts to remove resonances or problematic frequencies. For surgical tasks, consider placing BootEQ MKII after a de-esser or dynamic EQ when you need tight control.
• Tonal shaping: Use wider Q and gentle boosts/cuts. Use Input-driven saturation to add perceived loudness and cohesion.

Parallel processing and creative uses

• Drum parallel: Duplicate drum bus, apply heavy low boost + transformer saturation on the duplicate, blend under the original to add weight without smearing transients.
• Parallel vocal thickness: Create a duplicate vocal track with strong mid boost and saturation, low-pass filter it, and blend for body.
• Mid/Side feel: If your DAW supports M/S processing, use BootEQ MKII on mid or side channels to widen the image (e.g., boost highs on sides, tighten lows in the mid).

Live sound applications

BootEQ MKII can be used in live sound rigs that run plugin hosts (e.g., on laptops, digital consoles with plugin support, or hardware like Waves SoundGrid if a compatible version is available). Key live considerations:

• Low-latency mode: Use the lowest latency settings available and avoid high lookahead processing chains to keep monitoring latency acceptable.
• Tame feedback: Use narrow cuts on howling frequencies; a parametric band with a high Q is effective for feedback control.
• Stage clarity: High-pass instruments and vocal channels aggressively (as room allows) to reduce stage buildup and improve clarity on FOH.
• Quick presets: Create and save scene-specific presets (e.g., for acoustic sets vs full band) and recall them instantly.
• Consistent gain staging: Keep input levels conservative to avoid digital clipping; use Output makeup sparingly.
• Redundancy: Have backup presets or offline snapshots; if using a laptop, ensure power and audio interface redundancy.

Live starting tips:

• Vocals: HPF ~80–120 Hz, presence boost 3–6 kHz, minor cut 250–400 Hz.
• Acoustic guitar: HPF ~80–100 Hz, reduce boxiness at 200–500 Hz, add 5–8 kHz for presence.
• PA tuning: Use BootEQ MKII sparingly on group buses; primary tone correction should be done with the console/PA system EQ and room tuning.

Common mistakes and how to avoid them

• Overusing saturation: Driving Input too hard creates unpleasant distortion. Use subtle amounts and monitor in context.
• Boosting too narrowly for tone: Very narrow boosts can sound unnatural; reserve narrow Qs for problem frequencies.
• Ignoring phase: Excessive EQ moves across several tracks (especially with multiple mics) can cause phase issues. Use gentle moves and listen in context.
• Relying on soloing: Always check EQ changes in the full mix—what sounds good soloed may be wrong in context.

Example session chains (typical placements)

• Source -> BootEQ MKII -> Compressor -> De-esser -> Delay/Reverb
  • Use BootEQ MKII first for corrective shaping and gentle saturation, then compress for dynamics.
• Source -> De-esser -> BootEQ MKII -> Compressor
  • Place de-esser first when sibilance causes EQ/Pultec-like interactions; then shape tone.

A/B testing and auditioning

• Use the plugin’s bypass and A/B features to compare settings quickly.
• Make a conservative preset and then try more aggressive variations. If the aggressive version doesn’t clearly improve the mix, prefer the conservative one.

Final checklist before printing or live show

• Check gain staging: no clipping, healthy headroom.
• Confirm low-end control: HPFs set appropriately, kick and bass complementary.
• Listen in playback context: full mix, headphones, and mono.
• Save presets and snapshots for quick recall.

BootEQ MKII is a versatile tool that rewards musical, ears-first adjustments. Use it for gentle coloration, precise corrective work, and parallel processing to add weight and presence. Start with subtle moves, compare in context, and let the plugin enhance the source rather than replace careful arrangement and performance.