Exactly SM!
Good mic placement and EQ is god!
I take a very similar approach when EQing the Kick.
Keep EQing, especially when tracking to analog....
Like SM said, there's tons of reasons why you should do it.
Quote:
Originally posted by slipperman
Well, I've posted about this many times on PSW and I don't want to bore anybody here but.....
I often EQ like a MADMAN.
I've got so many reasons for doing this I don't know where to start....
This after about 12-13 years of NEVER Eqing to tape.
I went nuts.
I cracked.
I joined the enemy.
I love those guys like brothers now(The enemy).
Now I appear to be engaged in a desperate battle to out-EQ anyone in the history of the craft.... KIDDING. KIDDING.
Things I have been known to do.
Chop 30Db off overheads below 120Hz.
Chop as much as 10-12 Db at 250-350 on the same.
Chop another 4-6 Db WIDE on 400-800 as I'm making the other hacks.
(MadMoosely saw this on the record I'm doing now and almost fainted).
Hack a kick 10-15Db at 300 narrow.
Notch super-narrow at 70-90Hz.
Then boost the heck outta 40-60 narrow.
Hi-pass at 30-50.
Hack same drum just as much at 600-900 Really narrow.
NOTCH 1.75-2.8k range 6-8Db. while simultainiously boosting in the 4-6k range the same amount very narrow.
Low pass the whole mess at 9-10k up to 15k.
Hack everything off a snare at 100 down with hi-pass.
Cut, notches or boosts can be any number of bizarre combinations.
For SM57 snare.... Nothing like a SEVERE narrow cut at 8k with a MASSIVE VERY narrow boost at 15k with the low-pass clocking in at 12k. Yes 12k. BELOW the boost. I Love the havoc this stuff plays with the harmonic content and phase coherancy.
I could go on forever.
I go NUTS on toms....bass....guitars....vocals.
I love taking a mic that is NOT working AT ALL and FORCING it to work. The kids at my shop go crazy laughing as I engage in two of my favorite games.
'Death March Dogma micing' Where a common mic for a particular application is selected, placed in the 'usual' spot and the mic choice AND it's placement CANNOT be changed. Once it's up... It's up... It cannot be moved. All EQ fixes.
And 'Random Fatalist Micing' where a intern or band member is sent into the mic locker to select a mic which we must then place and EQ. until it works.
We ran a 'RFM' drill today on a new record for a pretty well known indy hardcore-punk band starting in my 'B' room. Lloyd(The shop's part time accountant) selected an RCA Jr. Velocity Ribbon(He thought it looked like 'Orson Wells') for the hi-hats. Just getting any isolation and directionality from the thing proved just about impossible. At the genius suggestion of the asst. engineer on the session we ended up suspending a staff members motorcycle helmet over the mic to 'Channel' the hats into the thing. It sounded positively CRAZY. However, in a humiliating public defeat, accompanied by much jeering and booing from the assembled mob, I ended up relenting and hanging a Royer R-122.... But it was fun while it lasted and I've discovered some really inobvious mic choices in the course of the these type of shenanigans.
Ya gotta have some fun or you go mental.
Or maybe it's "Ya gotta go mental to have some fun".
HOHOHO.
SM. |