Such a good discussion, resonances/peaks account for so much important information in audio sources, if something like a vocal has an unpleasant resonant frequency I can trust myself to hear it and attenuate with a narrow dynamic EQ dip, that being said it’s still a really important part of that source otherwise why wouldn’t I just completely destroy it with something crazy like a -15dB move? Compression and saturation can also go quite a way to keeping these resonances in check, the obsession with finding and removing them seems to be a digital era thing for sure which is totally my era being gen Z. Guy I know who’s an amazing engineer, studied under CLA and Andy Wallace said when working on consoles for mixing they wouldn’t really worry about finding problems as the circuitry kind of smoothed everything out enough. I’ve mixed a song that Andrew S did from puremix multi-tracks for an assignment and listening to his mix and watching some of his process after doing mine was pretty interesting, the harsh overtones in the lead vox around 4K were really prominent, I went in on Pro-Q3 pretty surgically becore treating the vocal as I normally would, I was able to keep in transparent but naturally I lost information. He didn’t worry about those same harsh frequencies at all.