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FAVORITE EQs
Old 6th May 2003
  #1
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
FAVORITE EQs

WHAT IS YOUR FAVORITE EQ, AND WHY?

If you have an EQ that always helps certain problems or always gets in and makes something shine, help us manufactuers and recording engineers by answering any relevant questions below for us.

1) What is the EQ
2) Why generally do you like it? If there was specific feature that is unusual or really great, mention it.
4) What instruments/source does it shine on, more than other EQ's. (IE Vocals, Bright guitars, Drums etc)
5) Give us one setting that you go to often, almost by rote, that achieves consistent success

Personally, Im also especially interested in wierd EQ's that color, or maybe have dynamic filtering, or maybe programmability, or ones that saturate, etc.

Dont answer if you have like 10 favorite EQ's, please, since it will dilute the folks who do have some strong feelings. Its fine to mention the EQ on consoles, or old "not made anymore" EQs. Also, please don't badmouth any current manufacturer if you can help it. If you dont wanna give away a setting etc, dont worry!

Also, if you agree vehemently with someone else, its helpful to just post "I agree with Billy Bob, 100%" . This helps weight the responses, as opposed to just adding another piece of gear to the list... Theres a lot of EQ's out there!

AS AN EXAMPLE
I loved Massenburg Parametrics during mixdown if there was one around, (or more often, a decent lower end parametric such as an ASHLEY SC-66) for Bass Guitar. Common moves would be to pull out a narrow band between 300 - 500 Hz maybe 3 - 6 dB, and add 800 to 2000 for clarity over small speakers (sometimes over 10dB), and then close down the high end with the last band up around 4K (or even lower if I didnt have the Massenburg HF Shelve). Sometimes Id roll off or pull out the sub mud too, like 40-80 Hz and below, especially on direct signals, and leave that area for the Kick drum. (Im pretty certain this is a very stock Bass DI EQ setting for some others on here). I loved the ability to switch the hi/low bands into shelving, and the massive headroom on the Massenburg stuff. They never clipped I dont believe. The extra 5th band compared to some EQ's is a huge plus. The controls were smooth and seemed consistent from one unit to another.

Forgive me if this "Favorite EQ" has been beat to death as a subject on here. (Im sure it has!) At some point, I will start asking what users would like to see and other weirdo EQ questions. Remember Ive only been on 4 days!
Old 6th May 2003
  #2
Here's one,

The Focusrite 215's ability to whip out 'telephone' frequencies (2 chances) and still leave some signal integrity makes it favorite for vocals and drums that need surgery...The bass boost and HP filter really helps max warmth..

Old 6th May 2003
  #3
My Favorites

My favorite EQs, much like my other favorite gear, are pretty standard "go to" pieces. I have a GML 8200 that is amazing. I have a 1073 that is amazing. I am hope to soon have some API 550b eq's. I have used all three extensively over the years and love them all.

The GML is great because I can carve up a signal and it won't sound bad. Even a 15 dB boost (which I don't do very often) will sound good. I use this eq on kick drum, bass guitar, and vocals all the time. I've actually done records where this was the only eq I used. This eq really shines when used in 1 to 2 dB increments. A little boost at 16Khz with a shelf on vocals. A little boost at 800 Hz on bass guitar. This eq is so versatile it's sick.

The 1073 doesn't have nearly the flexibility of the GML but that's what I like about it. I don't have to over think what I'm doing. I grab a knob and crank it. If it sounds good then it is good. It's really easy to get good sounds out of a 1073. Drums, guitar, vocals, piano.

The API is great for little touches as well. I like this eq for the same reasons as the 1073. Some 500 Hz for guitar, some 12Khz for overheads. Easy to use and sounds great. Drums, aggressive guitars, anything that needs a lot of punch.

Those are my choices and my two cents.

Shawn
Old 6th May 2003
  #4
Lives for gear
 
Drumsound's Avatar
I really enjoy the EQ on my Neotek Elan. The mid bands are wide and incredibly musical. I can do large upper mid-range boosts that don’t sound harsh or annoying. The hi and low shelves have sweepable frequencies which is very useful.
Old 6th May 2003
  #5
Gear Maniac
 

Passive EQ

Hum.
While I do respect the GML for it's surgical abilities, it really can't touch the Massive Passive for musicality. I try to use it blindfolded most of the time because even extreme settings are cool. My favorite tool is the LPF set at 7,5khz or 9. This will make any vocal warm and retain a bit of brightness. (the rez is hmmmm).
Another nice one is cut shelving the low end at 100hz or 80 and overshooting the Q so that you lose the mud but not the low end. I have had good results with the Avalon 2055 which is smooth. The neve 1081 and the API are cool. But none touch the massive. It's the kind of eq where it's hard to be completely wrong. It's so easy to get results fast that I try to track with it when necessary and get it on tape right. I try and challenge myself to see if I won't need any eq in the mix.
Not so easy but with the passive you can nail the bass and kick right from the word REC and everyone's happy. The Eq on the 9k is better than good also.

Cheers
Bruce
Old 6th May 2003
  #6
Gear maniac
 

Will be intersting to hear what you Massenberg hardware owners think of the new Massenberg TDM plug-in.... How do you think his TC6000 implimentation compares to the hardware? I think the TDM one is suppose to be an improvement on this though...
Old 6th May 2003
  #7
The Harrison series 3 eq was the most suited to rock gtr I have ever worked with IMHO. I want some racked one day...
Old 6th May 2003
  #8
Massive Passive and GML8200.

I think 95% of the vocals I mix these days see the Massive Passive as the first thing of the converter before it gets sent on its way.

I like it also on the stereo mix when mixing in PT.

The GML8200 has changed a lot for me since i started mixing exclusively in PT. In the old days I loved it on vocals that were tracked to 2 inch. Also on the mix buss of an SSL console.

Nowadays in the days of digital, it comes across as a little peaky. So I use it for that strength...on drums. Kicks and snares mostly.

I was using it for a while as a vocal "finisher" but the peakiness has worn me out a touch.

I have been using the digital version(Oxford/GML option) though for this with nice results. Its not as "peaky" as the original, sort like a GML lite.

I wanted to nominate the 1073/1081, but i am sure someone else will.
Old 6th May 2003
  #9
Lives for gear
 
dave-G's Avatar
One of my favorites is the Lang PEQ-2, which still manages to exist as a "sleeper" (due to its lack of tooobs, perhaps)

It's very very difficult to make it hurt anything. The top is very smooth and sweet, especially sweeping up to a 20k setting, the bottom is big and solid, and responds well to Pultec-tricks (simultaneous boost and 'droop') while managing to feel a little more "solid". Actually, I think in many ways I prefer the Langs to Pultecs.

Dammit.. shouldn't have said anything... if you see them for sale for cheap somewhere ... uh... THEY SUCK!! However, do call me and tell me you saw one of those sucky Lang EQ thingies...

-dave
Old 6th May 2003
  #10
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
Bruce (or anyone)

Im ashamed to say I havn't used the Massive Passive under the gun in the studio Manley makes such great "no compromise" tube stuff, always putting a new spin on a design.

Does the Massive do the Pultec thing on the high freqs - like when you tweak up the highs on an electric guitar and it just doesnt ever seem to get brittle?? I love that stuff!

ALSO - Bruce, that was a great term you used "Overshooting the Q"... I know exactly what you mean! Thats the sh*t I wanna hear.

Dave

P.S. I already know I have to give EveAnna Manley's dealers my VISA card for one of their tube mics (my buddy Wade from Chandler says I MUST, I MUST!) ... should I start whining for the Massive also?
Old 6th May 2003
  #11
Well, the Sontec is my old stand-by. I've used it for years and it easily the best surgical EQ I've used - I can dig in and do whatever's needed without it calling attention to itself.

The new Crane Song Ibis (alert - I worked with Dave on this design, so I'm biased) is amazing. I can do 6db of boost and it doesn't get harsh at all. Very subtle and amazingly musical, even without the color knob, which takes the box over the top. Has quickly become my standard EQ.
Old 6th May 2003
  #12
Quote:
Originally posted by Dave Derr
Bruce (or anyone)

Im ashamed to say I havn't used the Massive Passive under the gun in the studio Manley makes such great "no compromise" tube stuff, always putting a new spin on a design.

Does the Massive do the Pultec thing on the high freqs - like when you tweak up the highs on an electric guitar and it just doesnt ever seem to get brittle?? I love that stuff!

ALSO - Bruce, that was a great term you used "Overshooting the Q"... I know exactly what you mean! Thats the sh*t I wanna hear.

Dave

P.S. I already know I have to give EveAnna Manley's dealers my VISA card for one of their tube mics (my buddy Wade from Chandler says I MUST, I MUST!) ... should I start whining for the Massive also?
Hey Dave,

The answer is yes. It does the high thing exceptionally well. You have more frequencies to work with also. That is one reason I like it on the mix, you can dial in a"pultec high" without making the mix "hissy".

It isn't a Pultec though(closer to a Lang at times in sound), but you can magle or fix just about anything.

The Pultec is still around in my studio and its being used on all my mixes(on bass mostly). I still find it more useful in my uses, than the Langs(sorry Dave-G).heh

Hey Dave-G, if I had known you were looking I would sold you my pair of Langs(I sold em at a very decent price).
Old 6th May 2003
  #13
Lives for gear
 
Fibes's Avatar
 

I love the API 560 for the grab and go factor... I'm also into the API 550a/bs for most of my eq needs. Some engineers think that the API is limited due to the lack of sweepability, I consider it a blessing. The reson for this is if I can't get it happening with the API there's too much **** happening before the eq that needs to be dealt with.--So really my favorite eq is my mic locker.

That pultec top rocks and to a degree the Phoenix Audio GTQ2s top rocks too!
Old 6th May 2003
  #14
Gear nut
 
stuntmixer's Avatar
 

Y'all have hit my faves already. I love API's for rock drums and guitars. I'll second the Lang, though I found the one that I used to actually wrap nicely around my other fav: the Pultec.
I am drooling to try the Manley (Sigh.....someday), the Ibis and as soon as I can find time, some Harrison strips that are waiting for me to DIY.

Charles

PS - I think I know what you mean, but could you define "overshooting the Q"
Old 6th May 2003
  #15
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
"Overshooting the Q" isnt a technical term really. But it does describe the effect of what happens on a bass boost/cut, or treble boost/cut when the filter is overly steep (really high Q), causing a little hump or dip in the opposite direction of your boost or cut. This little bump or dip occurs right before the corner (or cutoff) frequency. As an example, if you are cutting all frequencies below 200Hz say, an overly sharp Q would cause a little rise in frequency around 220Hz or so, just before it starts dropping off rapidly.

Make sense?
Old 6th May 2003
  #16
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
HARRISON EQ

JULES, Harrison was way ahead of their time. Didnt they offer one of the first automation systems, as well as a great sounding board? I remember using a Harrison board long long ago and thinking how easy and nice sounding it was. This is before i was a gear head, and only a long haired guitarist, but i remember really liking my guitar sound lol. I was definitely one of those "More Me" kind of guitarists.

Are those EQ's only semi parametric, without bandwidth adjustment? Picking a good bandwidth is key!
Old 6th May 2003
  #17
Lives for gear
 
dave-G's Avatar
Quote:
Originally posted by thethrillfactor
Hey Dave-G, if I had known you were looking I would sold you my pair of Langs(I sold em at a very decent price).
Dammit Thrill!

Actually, I can't complain, I'm already Lang-equipped (got mine from Gary Meyerberg years ago). But hey, PM me and I'll give you my contact info in case you decide it's time to part with any other old sweeties at "decent" prices. heh

-dave
Old 6th May 2003
  #18
Gear addict
 

If I were to put a hardware eq on the market, I think I would lean towards simplicity. Full parametric controls give a lot of people quite a bit more than enough rope to hang themselves with, and a lot of competent people just want fairly quick gratification when they can get it. I would think something like switchable q ranges or switchable frequencies rather than completely variable can be a beautiful thing, if designed well. And I think I've seen some eq's that have a wider q on boosts and a narrower q on cuts, which is generally more useful. I think part of why I like a smaller number of options available is that it becomes easier to find an appropriate setting instead of hunting for the perfect setting. (Hell, isn't that what the mastering guys end up doing after you're done anyway?)

I love my Siemens W295b's, though they have some strict limits in the available switch settings. There are certain things they can do that no other eq I've used quite does.

Bear
Old 7th May 2003
  #19
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
Bear

Interesting answer. I just got done another post about limiting control on the Fatso, saying compromising on the amount of controls a user has access to can often be a good thing, if the right decisions are made. Its almost like the "COMMIT TO TAPE" thing. If done right, no one is going to regret it.

Let me ask you all a specific question. On a parametric type equalizer, what is the minimum amount of well chosen Q's, or Bandwidths you could be happy with? 3? 4? 6? 8? etc?

Have any ideas of what the BW's would be?? (By the way, Q = 1/BW and vice versa.. BW = 1/Q). A common Bandwidth is very close to one octave, or a Q of 1.

Dave
PS I never heard of the Siemens W295b's! Have you been carousing WWII surplus stores or what?
Old 7th May 2003
  #20
Registered User
 
malice's Avatar
 

Quote:
Originally posted by Jules
The Harrison series 3 eq was the most suited to rock gtr I have ever worked with IMHO. I want some racked one day...

Jules :

now I know I'm not alone

malice
Old 7th May 2003
  #21
Gear Head
 
Jakob's Avatar
 

Massive Passive.
The only EQ I know where my mix doesnt turn into a piece of sh..
once I turn it on.
Its a wonderful machine.
Jakob
Old 7th May 2003
  #22
Gear maniac
 
Peter Simonsen's Avatar
 

EQ 1.

The GML same reasons everybody else..around here has .

Eq 2.

NTP 182-100. Danish made eq´s with 10Khz high shelve.+/-12db, and 60Hz low shelve +/- 12db. Mid freq in Khz (bandpass) 1,4..2..2,8..4..5,6 +/-10db...there´s just something about the NTP eq on amb. drums..a woow factor..!!! also on stereo programm as "sweetning"...

Kind regards

Peter
Old 7th May 2003
  #23
The Distressor's "daddy"
 
Dave Derr's Avatar
 

Thread Starter
OOoo The NTP 182-100. Danish made eq, eh?? Ive heard of it... that is the extent. They dont have anything to do with Tubetech do they?

Thanks for the post
Old 7th May 2003
  #24
Jax
Lives for gear
 

Massive Passive

I'll add to the comments about the high freq. abilities of this box (more of a cage, really). 12k - recently a twelve string DI'd (with some decent attachable pickup) through a Great River MP-2 lacked any kind of luster up top, as expected because it was DI'd. Completely cranked shelving boost at 12k on the MP brought up frequencies (added them?!) that just weren't there before. It sort of pulled out the smallest grains of everything harmonically or directly related to 12k and smoothly spread them out. Beautiful!


16k - Anytime a mix or source needs "air" and already has a fair amount of "glass", you can go wild with 16k shelf on the MP. It's smooth and bright, but not edgy, and sounds very much like it's a part of the music rather than something added to it (a definition of organic).

A little more, this time about the upper midrange with the MP: snares without enough spank, guitars without enough howl, vocals without enough command to catch your ear - I really dig juicing them up at around 740 to 1.5 khz with the bandwidth set to medium/tight.

Oh yeah and 270 hz is amazing when you need stuff to purr a little more, and dare I say it, get "WARM." Yes, WARM! There's no better word for it in this case. Mid/tight bandwidth over bell.

The Manley can't carve very precisely, but she sure can sing!
Old 7th May 2003
  #25
Jax
Lives for gear
 

Oh yeah, I have to add that 3-6dB dips at 560 (or was it 580?) really clear up boxy (read: midrange overpresent) mixes or sources. On the MP...
Old 7th May 2003
  #26
Gear maniac
 
Peter Simonsen's Avatar
 

Quote:
Originally posted by Dave Derr
OOoo The NTP 182-100. Danish made eq, eh?? Ive heard of it... that is the extent. They dont have anything to do with Tubetech do they?

Thanks for the post
Dave..most welcome...!!!

To the best of my knogledge NTP, and TubeTech are not related. The NTP stuff eq/comp/preamps ect..are sadly not made anymore...So go on, and bring them back to life...

Kind regards

Peter
Old 7th May 2003
  #27
Gear addict
 

EQ

After Bob Clearmountain told me; "The BSS 901 Dynamic Equaliser on a lead vocal is like cheating", I had to have one. It is, of course, no longer made. It's now a 901 II. Bob says it's not the same. So, the search began. I found one through a rep. (He found it on a shelf in the factory). At the AES show in San Fransisco Bob introduced me to the original designer who, in turn, sent me his B.C. mods for the unit (narrower Q's for the high and low bands). Mixing a lead vocal has never been the same.
Old 7th May 2003
  #28
Gear addict
 

Dave, the W295b is a modular solid state passive eq built for German broadcasting. It is of the same lineage as the Telefunken V72 and V76 tube preamps, though of a later date and of different character. Siemens, Tab, Neumann, and a few others made modules to Telefunken's spec, but later, especially in the transition to solid state technology, they all created more distinctive products. The NTP actually looks like a Danish take on the German modules, and I hear nothing but praise for the NTP's from the few who know them.

Bear
Old 8th May 2003
  #29
One with big hooves
 
Jay Kahrs's Avatar
I like simple EQ's. Give me a couple of choices and I'll find something that works. Give me enough time with a full parametric and I'll end up hanging myself before long.

Some of my favories are API 550's, Pultecs and their various cousins/copies and the Daking 52270's. Most EQ's fall into one of two catagories. Clean, like a GML or Sontec which can be used for corrective meaures or gentle shaping. And then the character pieces like a Pultec or older Neve.
Old 8th May 2003
  #30
jho
Lives for gear
 
jho's Avatar
 

Re: EQ

Quote:
Originally posted by Benjy King
After Bob Clearmountain told me; "The BSS 901 Dynamic Equaliser on a lead vocal is like cheating", I had to have one. It is, of course, no longer made. It's now a 901 II. Bob says it's not the same. So, the search began. I found one through a rep. (He found it on a shelf in the factory). At the AES show in San Fransisco Bob introduced me to the original designer who, in turn, sent me his B.C. mods for the unit (narrower Q's for the high and low bands). Mixing a lead vocal has never been the same.

So the 901 II is not worth buying? I can't find a 901 anywhere...
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