Berlin-based artist Felix Raphael is no stranger to pouring his full self into music. His upcoming album DO YOU, out November 28 on [PIAS] Électronique, dives headfirst into mental health—both his own experiences as a musician and social worker, and the wider struggles many face navigating creativity, comparison, and vulnerability. The project’s first single, “Creation (no matter how far I go),” sets the tone: a reflective, piano-led track that blossoms into a statement on the enduring joy of making art.
Where DO YOU stands out is in its honesty. Raphael isn’t interested in glossing over the difficult parts of being an artist. Across 16 tracks, he takes on themes like therapy, resilience, patience, and self-acceptance, presenting them not as abstract concepts but as lived realities. His multi-instrumental approach—guitar, piano, synths, even the flugelhorn he taught himself specifically for the record—grounds the album in a tactile, human energy. It’s music designed to resonate as much on stage as it does in private listening.
Ahead of the release, I spoke with Felix about the technical side of his production process. Our conversation focused on EQ choices, ear training, and the tools he uses to shape organic warmth in his mixes. His answers give insight into how a producer’s mindset connects directly to the emotional honesty of their work, and why balancing technical precision with natural character is so essential to his sound.
Do you think EQ choices change depending on the genre, or do you have a go-to philosophy that works across styles?
EQ definitely changes depending on the genre, but I think there are fundamental approaches that work across different styles. In organic house and melodic house, where warmth and depth are essential, I focus on preserving the natural qualities of the sounds. That means avoiding overly aggressive cuts or boosts and instead working subtly to enhance the character of each element. In contrast, if I were producing something more club-oriented, I’d likely make more surgical EQ moves to ensure clarity and punch.
That being said, I always try to approach EQ from a perspective of balance rather than a fixed rule. The key for me is listening to how each element interacts in the mix and shaping it accordingly. I don’t believe in rigid formulas because every track has its own energy, and it’s more about bringing that out rather than adhering to a strict method.
How much EQ do you typically apply—are you more of a “subtractive first” kind of person, or do you shape a lot with boosts?
I lean heavily towards subtractive EQ first. When a sound doesn’t sit right in the mix, my instinct is to find what might be causing the issue and remove it rather than boosting something else to compensate. Cutting out unwanted frequencies often creates space and allows everything to breathe, which is especially important in organic house music where textures and harmonics play a big role.
That being said, I do use boosts when I want to bring out a certain character in a sound. For example, adding a gentle lift around 10kHz can give vocals or synths more air without making them harsh. But I always try to do it in a way that sounds natural—if I find myself boosting too much, it usually means I should go back and check my sound selection or recording instead.
Passive EQs tend to shape the tone in a more natural way without harshness—where do you find that useful in your workflow?
I use passive EQs a lot when I want to enhance warmth and depth without making things feel overly processed. A great example is on pads or atmospheric elements, where a subtle low-end boost can add richness without introducing muddiness. Since passive EQs don’t have the same sharpness as digital parametric EQs, they’re perfect for shaping sounds in a more musical way.
Another area where I find them useful is in the mastering stage. If a track needs a little extra shine or body, a passive EQ can help gently push it in the right direction without making the mix feel unnatural. It’s about enhancing what’s already there rather than forcing something that doesn’t fit.
Do you find that passive EQs are better suited for certain elements in a mix, or do they work across the board?
I think they can work across the board, but I find them especially effective on elements that need a more organic and rounded sound. Vocals, pads, and even basslines can benefit from the subtle tonal shaping of a passive EQ. It’s great for adding warmth to low frequencies or giving highs a smooth presence without introducing harshness.
For things like percussive elements or really precise corrections, I tend to use digital EQs instead. A snare or hi-hat, for example, might need more surgical adjustments, which passive EQs aren’t necessarily designed for. So, it depends on the sound source, but in general, I reach for passive EQs when I want a more musical and natural enhancement.
Some people use the same EQ for everything, while others switch it up constantly—what’s your approach?
I definitely switch it up depending on the sound and what I’m trying to achieve. For general tone shaping, I love using passive EQs or analog-modeled EQs because they add a certain warmth and depth. But for problem-solving, I prefer using a clean, digital EQ with precise control. It’s all about what the track needs at that moment.
At the same time, I do have my go-to plugins that I reach for often. I like having a few trusted EQs that I know inside out because it speeds up my workflow. That way, I’m not endlessly scrolling through plugin options but instead making creative decisions quickly.
If someone’s struggling with picking the right EQ for their mix, what’s the best way to train their ear to make better choices?
The best way to train your ear is to experiment and compare different EQ moves in context. One exercise I recommend is taking a single sound—like a vocal or a synth—and EQing it in different ways, listening to how small changes affect the overall balance. Sometimes just boosting or cutting a frequency by 1 or 2 dB can make a big difference, and learning to hear those subtle changes is crucial.
Another great practice is analyzing reference tracks. Load up a song that has a sound you love and try to match the tonal balance in your mix. Over time, this helps develop an instinct for where certain frequencies should sit and which EQ techniques work best. Ultimately, it’s about training your ears through experience rather than relying on visuals or preset solutions.
The post Inside Felix Raphael’s EQ Philosophy and New Album DO YOU appeared first on Magnetic Magazine.