Starting Your Mix Right: Sonimus Sweetone EQ

When mixing, you need to know what work is needed on the current track to decide which plugins to use. It's about using compressors and EQs while determining whether dynamics or tone need to be adjusted.

I often say there are three ways to adjust dynamics. The first is the performer's playing during recording, the second is editing through gain plugins or volume automation (which can be done in N-Console and A-Console reviewed earlier), and lastly, using FX devices like compressors or expanders.

Among these, the most natural method is creating dynamics during recording, followed by editing, and the method that can be the most unnatural (with a higher possibility of audio damage) is using FX devices. Or you could use all three methods to adjust dynamics in a three-dimensional and varied way.

The same applies timbre. The 'equalizer' is first applied at the microphone. And when applying FX devices, we typically use EQ in a 'surgical' way first, then apply EQ in a 'gentle' way.

I recommend refining dynamics and timbre as delicately as possible before fully applying compressor and equalizer FX to the mix. Dynamics can be refined through volume automation and gain staging plugins.

Similarly, refining the timbre in the first stage of mixing makes subsequent work easier. Sonimus' Sweetone, which I'm introducing today, is a plugin that can be useful for such work.

This review was conducted with an NFR (Not For Resale) license from Sonimus. I declare that there are no affiliate codes in the links within the text and this is not a sponsored review.

The Birth of Sweetone

First, I'd like to introduce the backstory of how Sweetone came to be. This reveals the intention behind its creation.

The idea for this product was first conceived by Diego Toritto, a Spanish audio engineer and plugin developer. He wanted a simple yet effective equalizer of good quality for quick audio work.

Although many products were already on the market, high-quality ones took too long to use, while easy-to-use ones had disappointing sound. So he began creating his ideal equalizer himself.

As a result, Sweetone was born after analyzing and studying various analog equipment. It's a 'tilt EQ' and also 'cut filter-type EQ' that provides a literally 'sweet' tone while being easy for users to handle.

During testing with colleagues, he heard "your plugin has a sweet tone," and initially named it 'Sweet Tone'. As this plugin has simplicity as its identity, the name was simplified to 'Sweetone'.

Harmonic Formation

When you first load Sweetone, the PREAMP is activated by default, so some harmonics are created.

These harmonics increase as you raise the GAIN knob. However, as the volume also increases simultaneously, it's not meant to be used as a saturator to only increase harmonics.

It adds a slight, pleasant level of harmonics that's not excessive. Therefore, you don't need to worry about unintended negative effects in the later mixing process due to the PREAMP function. There seems to be almost no aliasing problem.

Of course, if you want to use Sweetone in a completely 'Clean' state, you can deactivate the PREAMP function.

Changes in Equalizer Curve

The analog style of Sweetone is more evident in the equalizer curve than in the harmonics.

First, the TONE section in the center is initially set to 'TILUX' mode. In this state, there's a slight overall slope where the high frequency range is lowered and the low frequency range is raised. This is independent of the PREAMP button.

The TONE knob acts as a tilt EQ. It creates a shelving filter curve in the low and high frequency ranges centered on the middle frequency band.

Changing the NORMAL mode at the bottom to SWEET moves the reference point of the tilt EQ more towards the bass or treble. You can expect a slightly gentler effect.

Changing TILUX to LOUD completely changes how TONE is used. In LOUD mode, as TONE moves towards -, it becomes a bandpass filter, and as it moves towards +, it becomes a notch filter.

Similarly, changing NORMAL to SWEET in LOUD mode changes the Q value of the EQ curve.

HIGH PASS and LOW PASS work as expected. The BLOW mode of HIGH PASS creates resonance. Notably, the operating range of the HIGH PASS filter goes up to 2kHz. This allows for extensive use of the HIGH PASS knob to solve issues of low-mid frequencies cluttering in mixes with many tracks.

LOW PASS doesn't have a function to create resonance, but you can create a resonance effect by raising the high frequency range with the TONE knob.

Application Examples by Situation

I downloaded the multitrack of 'Eos' by German electronic musician Koltbach for testing. I organized the frequency bands of the tracks using only Sweetone.

Note that Koltbach provides multitracks for free on his site and allows unlimited remixing for non-commercial purposes. If you need multitracks for remixing, please download them directly from the site.

Adding Weight to Kick, Snare

I tilted the tilt EQ slightly towards the low frequency range, then used the BLOW mode on the HIGH PASS knob to create resonance in the low frequency range and emphasize a thick feeling.

However, as there's no auto-gain function, you need to use the GAIN knob while carefully watching the DAW's track meter and listening to maintain a consistent volume.

Emphasizing High Frequencies in Ride, Bell

On the other hand, for high-frequency elements of the drum like ride and bell sounds, I used LOUD mode to cut the mid-range and cleaned up the low frequency range with the HIGH PASS filter.

Emphasizing Low Frequencies in Bass Synth

Here too, I used LOUD mode to create a notch filter to control the mid-range, then reduced the high frequency range with the LOW PASS filter. And I turned on SWEET mode to soften the effect a bit.

Focusing on Mid-range

For other synthesizers, as a slightly unique attempt, I created a bandpass filter shape in LOUD mode and also used the HIGH PASS and LOW PASS knobs a lot to leave only the mid-range. I compensated for the reduced volume with gain, and in this process, you can also see the effect of added harmonics.

Although the overall sound got a bit louder, I accepted this as a result of the mid-range emphasis.

I emphasized the mid-range for the piano as well. By increasing harmonics and cutting the low and high frequency ranges, I intended a more lo-fi sound.

In the example, I intended meaningful changes within a natural range rather than extreme changes through Sweetone. The tone was cleanly organized to allow compressors and EQs to be used more actively in the later mix. For me, who values this process, Sweetone showed very attractive results and made me look forward to the response of the compressors and EQs that would follow.

In individual track work, I found myself using LOUD mode a lot, which is convenient for organizing frequency bands. The tilt EQ method of TILUX might also be useful on channel buses or the master bus.

EQ Tips Using Sweetone

1. Applying Sweetone as the First Step of Every Mix

As explained earlier, Sweetone is excellent for basic organization of frequency bands of tracks. It performs frequency organization very musically, just as much as the user wants.

2. Surgical EQ Work Using Dynamic EQ

While Sweetone is excellent for overall frequency organization, it can't precisely cut resonances that include irritating noise. It's best to avoid such problems when recording stage, but if necessary, it's good to use a dynamic EQ.

3. Refining Tone with Console EQ

If Sweetone and dynamic EQ were a kind of preparation stage, now it's time to start EQing in earnest. You can add the mixing engineer's subjective color by adjusting frequency bands as desired with a console EQ like SSL 4000E.

If you've properly organized the frequency bands with Sweetone beforehand, you can easily achieve your intended result with just a little EQ work. It can also prevent unnecessary frequency bands or noise from being emphasized due to EQ work.

4. Creating Air and Low End

Finally, you might need to add a bit of high frequency (Air) or reinforce the low frequency (Low End) to the track. Products like Baxandall EQ or Maag EQ are excellent in these areas. Pultec EQ is good for gently lifting the low frequency range.

You could use Sweetone once more in this work. It's also a good method to apply a slight tilt EQ in TILUX mode or create a pleasant resonance in the low frequency range with BLOW mode.

Why I Recommend Sweetone

Of course, all this work can be done with just one digital EQ built into the DAW. But the advantage of Sweetone is that it can quickly achieve the intended purpose with just one or two knob operations and button clicks, with producing a pleasant EQ curve characteristic of analog equipment.

I've mainly explained Sweetone as something to apply in the first stage of mixing, but it can be sufficiently utilized for use in the latter part of the plugin chain or on mix buses.

The price is also among the cheapest of Sonimus products at $39. However, in terms of its use, I can say it's the product I'd recommend first among Sonimus products.