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Buying my first mastering eq Equalisers (HW)
Old 10th August 2014
  #61
Quote:
Originally Posted by bcgood View Post
: /
Not sure what to read in to this. Do you disagree with what I've said?
Old 10th August 2014
  #62
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Quote:
Originally Posted by hive View Post
I started with the Sontec 250 and quickly moved to the Maselec MEA-2. highly recommended, maybe you can find one used. couldn't imagine using the 5500 as my sole eq on electronic music...
What were your issues with the Sontec?

I could go up to 4k for an eq but cant really swing much else at this time. Very torn between what to get.
Old 12th August 2014
  #63
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Quote:
Originally Posted by planet red View Post
What were your issues with the Sontec?

I could go up to 4k for an eq but cant really swing much else at this time. Very torn between what to get.
recall and L/R channel matching hell. Maselec certainly excels in this area.
Old 12th August 2014
  #64
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So it wasn't a tonal thing? How would you compare the sontec to the maselec?
Old 12th August 2014
  #65
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Anyone else using the TK-lizer? and anyone got the HCL OZ Eq?

Thanks in advance!
Old 14th August 2014
  #66
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teebaum's Avatar
Quote:
Originally Posted by dietrich10 View Post
Another option is the Summit EQ200/MPE200 designed by Mr Neve. I am a big fan of mine and they should be around 3k IF you find one.

the MPE version issue is that the HP/LP are on the mic pre inputs not the EQ circuit.
i get my mpe-200 today - holy macaroni, this eq is sweet!
quiet different to the great river maq (booth more or less "neve designs"), big, lush sound, i need more time to capture his character, but i think i will fall in love...
Old 28th August 2014
  #67
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Originally Posted by Plush View Post
I recommend the d.a.v. electronics Broadhurst Gardens No. 3 mastering EQ. Outstanding finishing eq from Decca Records.

$1700 delivered from London.

D.A.V. electronics
Can you elabourate a bit on the DAV EQ?
It's on my wish list too, but I've not heard it as yet.

(The DAV mic amps are amongst the best I 've ever come across, so I guess the EQ's quality should be along the same line.)
Old 29th August 2014
  #68
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8200
it's also easy to sell it if you don't like.....impossible
Old 2nd September 2014
  #69
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Quote:
Originally Posted by Hippocratic Mastering View Post
I did! It's a good EQ - the mids are great, especially for cuts, and the low end is very big but still quite tight, although quite restricted frequency wise and with a fairly wide Q. I find the highs to be a little on the harsh side but not as harsh as the API 5500, and still very usable in lots of situations.
I agree.

Frankly, the MAQ makes the 5500 seem like a toy.

JSL
Old 2nd September 2014
  #70
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Quote:
Originally Posted by jslevin View Post
I agree.

Frankly, the MAQ makes the 5500 seem like a toy.

JSL
I disagree.
These are two relative different soundig boxes. Both have their benefits. For example the MAQ is not punchy as the 5500 is (especially in the lows).
Most ME do change the OP-Amps at the 5500 to defuse harsh-sounding boxes.
But if you have MAQ, then maybe you would like to have a more "aggressive" sounding EQ.
(I´m writing about the MAQ-2NV)
Old 2nd September 2014
  #71
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teebaum's Avatar
Quote:
Originally Posted by jslevin View Post
I agree.

Frankly, the MAQ makes the 5500 seem like a toy.

JSL
not at all.

i have a api 5500 (with the smoother scott lieber red dot opamps) and i had a maq for around 1 year.

there are good reasons why you see the 5500 in many masteringstudios - he's a great complement to the typical mains like sontec, maselec, buzzaudio ASO.

the maq have he's strengths, but if you like to have a "neveish"-eq, try better to get a summit e-200, soundwise i see him truly one step over the maq and the unit also looks better in your rack ;-)
Old 3rd September 2014
  #72
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Quote:
Originally Posted by teebaum View Post
there are good reasons why you see the 5500 in many masteringstudios - he's a great complement to the typical mains like sontec, maselec, buzzaudio ASO.
But the OP didn't ask about a second EQ alongside a $10,000 primary one.

We may not be saying entirely different things. The MAQ functions a lot better than the 5500 as a main mastering EQ. For anything cleaner, there are digital options.

JSL
Old 3rd September 2014
  #73
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teebaum's Avatar
Quote:
Originally Posted by jslevin View Post
But the OP didn't ask about a second EQ alongside a $10,000 primary one.

We may not be saying entirely different things. The MAQ functions a lot better than the 5500 as a main mastering EQ. For anything cleaner, there are digital options.

JSL
i'm with you about the 5500, he's not a perfect first eq, but he's not a "compromise eq" who will later be replaced by a first choice, nothing can replace a 5500.

but the maq is IMO also not a allrounder and was often not my first choice - i can't recommend him as a first mastering eq. i think the maq is great for mixing, but on the 2buss i didn't fall in love with him (for dipping the mids he's sometimes great).

good "first eq's" are sadly the "typical main-eq's" and they are expensive.

maybe try to get a used museq.
Old 27th September 2014
  #74
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Quote:
Originally Posted by teebaum View Post
but the maq is IMO also not a allrounder and was often not my first choice - i can't recommend him as a first mastering eq. i think the maq is great for mixing, but on the 2buss i didn't fall in love with him (for dipping the mids he's sometimes great).

good "first eq's" are sadly the "typical main-eq's" and they are expensive.
This view seems outdated, from my perspective. You can buy damned near every digital EQ in software, for a combined cost that's less than any of these units. You probably should, too, and I have. So the question for me, with regard to a primary outboard mastering EQ, is what makes the most sense as an all-rounder in light of the availability of great mastering EQs in the box. In other words, what complements that set of high-end tools and will handle 90% of EQ needs.

I don't think the "typical main EQs" make any sense in this updated context, and I believe the market will come to reflect this, though it may take five or ten years.

JSL
Old 27th September 2014
  #75
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Quote:
Originally Posted by karumba View Post
scott liebers offers two types of opamps: red dots & blue dots. red dots sound like the vintage api & have more harmonics & therefor even out the spectral information a bit. blue dots sound like the opamps api is currently using which are a bit more transparent (due to less harmonics). i recently switched to blue dots in my 5500 (others prefer the red dots), since the original ones seem to not last that long.
Did you noticed any sonic difference between the stock API 2025 op amps and the blue dots? And if so, how would you describe it?
Old 27th September 2014
  #76
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Quote:
Originally Posted by jslevin View Post
This view seems outdated, from my perspective. You can buy damned near every digital EQ in software, for a combined cost that's less than any of these units. You probably should, too, and I have. So the question for me, with regard to a primary outboard mastering EQ, is what makes the most sense as an all-rounder in light of the availability of great mastering EQs in the box. In other words, what complements that set of high-end tools and will handle 90% of EQ needs.

I don't think the "typical main EQs" make any sense in this updated context, and I believe the market will come to reflect this, though it may take five or ten years.

JSL
if you think the difference between a digital eq and a analog eq is not relevant, you didn't need to buy one

(edited to prevent misinterpretations)
Old 27th September 2014
  #77
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Quote:
Originally Posted by buzzjoe View Post
Did you noticed any sonic difference between the stock API 2025 op amps and the blue dots? And if so, how would you describe it?
i assume you are refering to the 2520. i couldn't hear any difference between stock & scott liebers blue dots, but there is one between stock/blue & red.
Old 27th September 2014
  #78
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Quote:
Originally Posted by karumba View Post
i assume you are refering to the 2520. i couldn't hear any difference between stock & scott liebers blue dots, but there is one between stock/blue & red.
Yes the 2520 of course :-) Thank you!
Old 27th September 2014
  #79
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When using a mastering "5500", must be careful. This EQ so distinctive, that it is not used by the genre will also be the right choice. 5500 is very suitable to the electronic sound. In addition, it would be ideal for "loud" rock sound. On the other hand, a soft touch if you want, you get in the way. You can also use the 2bus to 5500 is also useful in tracking. You will find the correct sound immediately if you use a distorted guitar. But you will not know what to do with this EQ in jazz.....

I'm using the API5500, Elysia Museq, Dangerous BAX EQ, Summit EQ200. I was using the Xfilter previously(I often use to mix even now).

EQ that I felt that it is universal is GML9500 and CraneSong Ibis.
Old 28th September 2014
  #80
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Quote:
Originally Posted by teebaum View Post
if you didn't hear the difference between a digital emulation and a analog eq, you better didn't buy one.
I'm going to give you the benefit of the doubt and assume there is a language barrier here.

I said, specifically, that digital EQs are all available cheaply in software, not analog EQs.

Yes, if I thought analog and digital EQs all sounded the same, I wouldn't buy one either. But of course I don't think that.

JSL
Old 29th September 2014
  #81
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gml8200, second hand maybe if the cash isnt there yet.

Depends on the rest of your gear and need but maybe you want a 510 lindell rack with some eq's just to play around first. You can always get that great gml8200 after and be completely blown away.
Old 29th September 2014
  #82
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Quote:
Originally Posted by _Pieter View Post
Can you elabourate a bit on the DAV EQ?
It's on my wish list too, but I've not heard it as yet.

(The DAV mic amps are amongst the best I 've ever come across, so I guess the EQ's quality should be along the same line.)
Hello Pieter,

The new DAV mastering eq is fantastic. I am very impressed with its eq and its clean sound. Eq points are chosen very well and start in half a dB increments. Fantastic flexibility and build quality with precision Grayhill stepped switches throughout. Price is very reasonable for a Decca Records Mastering EQ. No need to feed the over advertised and over priced brands when this box is simply all around better and better thought out. Buy it today--$1700 delivered with import taxes paid included. Decca mastering eq.
Old 7th October 2014
  #83
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I feel the hammer by a designs is a great choice my advice is to check it out I can tell you countless great things but I think trying it is the best way to find out
Old 4th November 2014
  #84
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Well, I just made the change from my 5500 opamps (also my 2500) for a Red Hot. Big difference, is like having a new EQ. Now the 5500 will not be a third EQ for me, can be a GREAT second EQ.

Thanks for the information again on Scott Liebers!
Old 5th November 2014
  #85
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Quote:
Originally Posted by Tommyswami View Post
I feel the hammer by a designs is a great choice my advice is to check it out I can tell you countless great things but I think trying it is the best way to find out
I fully agree. Next to my Buzz REQ and Curve Bender the Hammer does some really good work in some of my mastering sessions. I replaced my tubes to a nice pair of Siemens and really like the result of it. It's not very subtle though.

Edit: Oh, sorry, I thought this was a thread about choosing a second or third EQ. Then no.. as a main master EQ I wouldn't recommend the Hammer. It sounds great (really great for it's price in my opinion), but the bands are several miles wide each and it is a box full of nice color. And only three bands + a high and low cut which are really not made for or usable for mastering.
Old 5th November 2014
  #86
Quote:
Originally Posted by planet red View Post
Not a huge fan of the massive passive on full mixes. I'm more wanting clear and sparkly hifi sounding.. The mp to me is thick and rich but slightly soft sounding.
For clear and sparkly hi-fi mastering EQ, I like the KNIF Soma first, and my second favorite I've used for years is the Crane Song IBIS.
Old 6th November 2014
  #87
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It all seems so contextual. I really enjoyed the thread "Help me choose my next eq" where a bunch of folks, including Dave McNair, ran the same track through various EQs to hear the 'flavor' of the different boxes. It wasn't necessarily shootout, which was good. It was just to help provide some flavor. The Soma just added a ton of depth and weight, while still keeping things tight and detailed. It was incredible. But what if weight and depth have already been added in the mix and isn't really needed, but another 'flavor' is need. Surprisingly, although the guys I listen to (Gehringer, Athens, Coyne) well at least two of them, use Sontecs (and I have one), I actually might have liked the 'blind' Equilibrium pass that Matt Gray did better than a lot of the $8000 and up analog EQs did. I just think that it really depends on the program material. I am hoping to put a hiphop track on that thread and have folks run a different type of program material through the EQs to see how these EQs perform. Maybe an EDM track, an instrumental jazz track, and maybe even a classical track, would be great. Again hear the flavors in different contexts.

But there are so many options out there. If I was starting from scratch, I would look for something versatile, which has hi and lo pass filters, at least four independent parametric bands that can be switched in and out, some output gain control to reduce gain after making boosts, and perhaps something with solid state and tube or transformer stages that can be flipped in and out. If I couldn't get the switchable tubes/transformers, that would be okay because I could add that to my signal using a mojo compressor if need be. But for a first EQ, I think finding something thats versatile would be a good way to go, so you have what you need for various situations.
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