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EQ questions - Take 1
Old 27th February 2009
  #1
Gear Head
 

Thread Starter
EQ questions - Take 1

What frequencies, if any, on the lower and higher register do you filter out?
Do you prefer gradual slope out or Abrupt outs at these frequencies?
Old 5th March 2009
  #2
Gear Nut
your use of EQ

Hi Tony,
Nice to have you here!thumbsup

1. I've been told 'If you eq tracks, do it never in solo mode'. What do you think about that? How do you work?

2. Do you try to use as less eq as possilbe or is that no issue for you?

3. Any tips to improve my eq skills? Sometimes it is hard to judge: better or just different


Thanks a lot
Reto
Old 5th March 2009
  #3
Lives for gear
i'm interested to this too.. i would like to know how you use low pass hi pass and shelf..

i'm not so sure usually.. i'm scared to cut too much or the opposite
Old 6th March 2009
  #4
Gear interested
 
adroit's Avatar
 

sparkle highs

Hi Tony,

the modern records are bright, sparkling and sometimes even ear piercing.
Please tell me about that what is crucial for gaining that effect:
starting from recording - the source: do you think that worse instruments have less HF?
The tracking room can EAT top highs even when close miking?
upper mid-class microphones are not enough?
is it the hardware used prior to digital recorder?

How much of the brightness is recorded and how much added with EQ, harmonic distortion etc. I mean are the raw tracks you start with are bright enough or you put a lot of effort to get them sting
Are your mixes much darker than after mastering?

that is the common problem for many younglings and also from sixties through 70-80-90 records are evolving from dark to bright - so what is the key to that?

cheers
Rafal
Old 6th March 2009
  #5
Gear interested
 

Old 8th March 2009
  #6
Gear Head
 
Tony Maserati's Avatar
 

Quote:
Originally Posted by blue View Post
Hi Tony,
Nice to have you here!thumbsup

1. I've been told 'If you eq tracks, do it never in solo mode'. What do you think about that? How do you work?

2. Do you try to use as less eq as possilbe or is that no issue for you?

3. Any tips to improve my eq skills? Sometimes it is hard to judge: better or just different


Thanks a lot
Reto
Dear Blue,
Okay.. eq'ing while in solo has always been considered a big no no. But it's like a guitar player trying to tune when everyone on stage is playing; when he knows what note he's going for he can do it, but it's a heck of a lot easier if eveyone would shut up... So know what yer going for, and check it in the mix throughout the process of eq'ing and you'll be fine. That being said, you should remember I have relative 'frequency' pitch. If you're still working on yer chops, eq mostly without soloing and you'll be safer....

I'll say it again; Subtractive EQ'ing will save you. A deep reduction at 500hz is equal to a huge gain 2k and above... It will also allow you to boost at 80hz without 'muddying' up the mix!! ... and you'll get an added benefit of NOT overloading your signal path!!! GAIN STRUCTURE agin!!!

Start slow, Push or reduce small amounts and see what that does to your mix. Listen and repeat.

t
Old 8th March 2009
  #7
Gear Head
 
Tony Maserati's Avatar
 

Quote:
Originally Posted by adroit View Post
Hi Tony,

the modern records are bright, sparkling and sometimes even ear piercing.
Please tell me about that what is crucial for gaining that effect:
starting from recording - the source: do you think that worse instruments have less HF?
The tracking room can EAT top highs even when close miking?
upper mid-class microphones are not enough?
is it the hardware used prior to digital recorder?

How much of the brightness is recorded and how much added with EQ, harmonic distortion etc. I mean are the raw tracks you start with are bright enough or you put a lot of effort to get them sting
Are your mixes much darker than after mastering?

that is the common problem for many younglings and also from sixties through 70-80-90 records are evolving from dark to bright - so what is the key to that?

cheers
Rafal
Hey Rafal,
Apparent level of brightness is usually a component of the 'GENRE' of music I'm working on. Pop music requiring the most. Indie requiring the least. That being said, Most of the material I get is NOT pre-eq'd, but over the past six months I've been noticing more and more, BGV's and some instruments are coming in with massive amounts of eq already on them. This actually inhibits my work and the mastering engineers. I like to give the mastering engineer something to work with. That way when he raises 14k by five or six db, it's across all the instruments. But if the vocals are already eq'd way too bright, he/she won't be able to do his job without creating a peircing or sibilant vocal.

I try to tell recordists to bounce the tracks twice one with and one without their eq. That way, I can decide for myself what's good and what's not.

thanks,
t
Old 10th March 2009
  #8
Gear Head
 
Tony Maserati's Avatar
 

Quote:
Originally Posted by elan View Post
i'm interested to this too.. i would like to know how you use low pass hi pass and shelf..

i'm not so sure usually.. i'm scared to cut too much or the opposite

Hey Elan,
Just wanted to add to what I've already said about eq'ing and respond to your query about band pass and shelving eq's.

I use a hi pass filter on vocals with the cut off starting at somewhere around 50-60hz depending on the vocalist. This keeps any foot noice, pops and bangin on the mic stand from transmitting to the mix. For me, lo pass filters are used primarily when I want to focus the energy of the signal into the midrange, or when I've split (mult'ed) a track and want this individual to be focused on the bottom end (where the other will have been hi passed to focus on the top end...

Shelving eq's are everything in between. The term usually suggests a static 'q', (such as an API) but doesn't have to be, the q can vary either in small degree's as in Neve mid eq's or fine adjustments like the GML 8200.

Use the finer q's for sculpting out the things you don't like and the broader q's for boosting...

hope that helps,
t
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