Jan 03, 2005 03:31 pm What are you trying to do with it?
Please be as specific as possible so we can help answer your questions.
I think I'ma die from anger
Posted on Jan 03, 2005 03:13 pm
RobertJ
Excuse Me, I Like 2 Ask Question
Member Since: Dec 05, 2004
LOL.. i'm getting mad..
I been playing with my parametric outboard 5 band EQ since christmas and cant find the right settings..
EErrrr!
Can sum please help me..
I will display what the EQ shows...
Input-
Low Cut-
High Cut-
BAND 1... 20Hz-400Hz
Frequency-
Octave Band Width-
Level-
BAND 2... 60Hz-1kHz
Frequency-
Octave Band Width-
Level-
BAND 3... 150Hz-2.5kHz
Frequency-
Octave Band Width-
Level-
BAND 4... 500Hz-8kHz
Frequency-
Octave Band Width-
Level-
BAND 5... 1kHz-20kHz
Frequency-
Octave Band Width-
Level-
PLEASE. I BEG YOU. HELP ME
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Jan 03, 2005 03:31 pm What are you trying to do with it?
Please be as specific as possible so we can help answer your questions.
Jan 03, 2005 04:05 pm Basically repeating Johnny Hero, but the settings on the eq are going to be different depending on what instrument you are recording, what sound you're trying to achieve, and what other instruments you have in your mix.
Jan 03, 2005 04:56 pm I am doing vocals.....and only vocals.. I bought this EQ to remove little noises.. like hiss and etc...and make my voice not as deep...
I just want really good quality..
Jan 03, 2005 10:28 pm I really wanna just keep the voice the same and just remove like hiss and etc....
i looked all over the net and cant find anything...
Jan 04, 2005 12:13 am Well, there is a product called a De-Esser. That is exactly what it does is remove hiss and sibalance from miced sources.
Jan 04, 2005 01:09 am Playing with it....I assume means randomly turning knobs and hoping for the best :) This is one piece of gear where that wont work. People should have to get a license and permit before they're allowed to buy a full parametric. Do you understand octave band width (Q)? If you don't this will be very frustrating. I'm sure there's an article on it somewhere on HRC.
As Noize said there are things much better suited to remove hiss, but before you try those there are many things on your board that could be contributing to your hiss. Turn everything down on your board, faders on all channel strips. Leave only your vocal strip at unity and turn your mic pre down, like around 12:00 or 1:00. Try this and then go from there.
Jan 04, 2005 01:24 am Well its not just the hiss, i want me voice not to be a deep...
Recording chick..yes i understand Q
Q Setting = Bandwidth
0.7 = 2 Octaves
1.0 = 1 1/3 Octaves
1.4 = 1 Octave
2.8, no 2.9 = 1/2 Octave
is there like a default setting?
I'm not trying to be rude witht his whole thread.
Its just money is kind of hard right now..the bills are stacking.Being 17 theres not a whole lot i can do.For christmas, my mom bought me this EQ.And she comes in my room everyday and says "you like it?"..and she smiles so big because she nows I love doing music. And I do like it. Its just complicated to understand.And I dont wanna ask her if she can return it cuz it break her heart like her strugglin to get it wasn't enough.
So I'm really tryin to find a place to start at...
thank you.
Jan 04, 2005 01:35 am Did your parametric come with a manual?...If it did...there may be application settings for vocals as well as instruments.
Is that helpful at all?
Cheers Robert,
BM:-)
Jan 04, 2005 01:56 am Hey Robert,
focus on band 4, Your vocal will be in that range. Start around 4K.
I don't know how deep your voice is, but try also band three and turn down some gain no more than 5db. You'll have to sweep through some frequencys to find what you don't like, then narrow and widen the Q and see if you can notch out or at least reduce it. Then go to band 4 and boost a little 4k. narrow and widen Q to taste. This is a starting strategy. first try reducing what you don't like. That may be enough.
It sounds like you have a great mom. Just smile and tell her it's a great tool and it takes a while for an artist to master a tool. sorry if I sounded bitchy before.
You can also try greater more exagerated gain reductions just to hear these frequencys clearer and then back off to like -3 or -5. hope this helps. There is kinda a steep learning curve with audio, but once you get over the hump it's blue sky. Don't worry about being frustrated. A full parametric EQ is a hard thing to learn even for a seasoned engineer. Just ask one who just purchased a Manley Massive Passive. :)
Jan 04, 2005 02:00 am Sorry Robert,
Sometimes we get to thinking everybody should be a pro from the begining.
BoysMum is right. There is a spot in your manual about voice. I looked in your profile and found your eq unit. There is nothing wrong with playing around with the unit to learn the effects it will have on music.
The low cut in the input will adjust the frequency at which the low frequency is cut; example if you set it to 400hz (max) everything from 400hz down will be cut or lowered in volume.
The high cut works the same way at the top end of the frequency range.
Using the low cut may help with lessening the deep part of your vocals. The high cut may help with the 'hiss'.
Another way of experimenting is called 'sweeping'. Start with the 'hiss'. Set the frequency for mid way of the band, about 10k hz. Set the level of the band 5 up. Boost the level a little. Set the Octave band width about half way. Now slowly change the frequency back and forth until you find the hiss. It will get worse or be more pronounced. Once you find the annoying frequency, move the level down. This will start to remove the hiss. Now is a balancing act. Try to cut the frequency as little as possible, while using as little bandwidth as necessary to make the hiss accpetable as possible.
Hope this helps. It is much easier to demonstrate than write about. Once you get used to it, it will be a wonderfull piece of gear for shaping your sounds. Hange in there! Pretty cool mom all in all! I can see why you would like to get it working for her too.
Jan 04, 2005 02:16 am In the future would everyone please state their age and relationship with their mother when they post. :)
Jan 04, 2005 05:25 am Lol...sometimes...directness can help sort things out.
Cheers Karyn,
BM:-)
Jan 04, 2005 11:10 am I cant beginning to thank you guys....i must have over looked the manual.
Recording chick, thank you for the tips, and ur time...
Boysmum, thank you for the help, and the time u spent reading and write back to this thread..
Walt, thank you for understanding and not takin it as me be grumpy...
YOu all are the reason why I come back to HRC.
Every one shows understanding to others and they have patients..
Thank you!
Jan 04, 2005 11:30 am in the manual the settings are not listed...
img3.musiciansfriend.com/...an/m_182441.pdf
all it tells me in center frequency (Hz) 1/3 octave and the effect on the voice
Jan 04, 2005 12:41 pm i did a test recording..not bad.. I no longer have to use NOISE REDUCTION.. yay.. but my voice is yucky.. so i guess i got more playin around to do...
Jan 04, 2005 03:21 pm Good for you Robert!
That's the fun of it. The playing around. Biggest problem is deciding it is fun not frustration. Get's a little murkey sometimes!
Jan 04, 2005 03:27 pm Try this on the vocals to see if it clears things up a bit.
Vocals - Scoop at 240 hz. if muddy, boost at 4 k for presence, and anywhere above 8 k to brighten (sibilance is between 8 and 10 k).
If you got to this article in our tips and tricks section you may find more tweaks to help ya out.
www.homerecordingconnecti...tory&id=390
There are sevearl articles in there that will help with EQ, as far as types, and what to do with them for certain things.
Jan 04, 2005 03:29 pm walt can u IM me.. i have a question..small one... but i dont wanna post it..cuz its a small quick questions...
nvm..
i'l post it in here..
For a while I ran
MIXER AUX SEND>>COMPRESSOR>>EQ>>EXCITER/ENHANCER>> AUX RETURN
then i learn to do that made the compressor useless..
And I hear alot about "inserts" but not sure what people mean by that..
could I do this? :
--MIXER AUX SEND>>EQ>>EXCITER/ENHANCER>>AUX RETURN
--MIXER MAIN OUTS>>COMPRESSOR>> M-AUDIO MOBILE PRE INTERFACE
CAN U TELL ME HOW IT SHOULD BE SET UP...
THANK U
Jan 04, 2005 03:31 pm noize, i seen that but i dont understand it
Vocals - Scoop at 240 hz. if muddy, boost at 4 k for presence, and anywhere above 8 k to brighten (sibilance is between 8 and 10 k).
is that for each band or?
whats sibilance?
Jan 04, 2005 03:35 pm It to treat just the vocal track, if the sound is muddy lower the levels around 240 hz (scoop, means lower that band)
dcitionary.com: "Of, characterized by, or producing a hissing sound like that of (s) or (sh)" - sibilance
Jan 04, 2005 03:39 pm thats db...
For a while I ran
MIXER AUX SEND>>COMPRESSOR>>EQ>>EXCITER/ENHANCER>> AUX RETURN
then i learn to do that made the compressor useless.And I hear alot about "inserts" but not sure what people mean by that..could I do this? :
--MIXER AUX SEND>>EQ>>EXCITER/ENHANCER>>AUX RETURN
--MIXER MAIN OUTS>>COMPRESSOR>> M-AUDIO MOBILE PRE INTERFACE
can you tell me how it should be set up...
THANK U
Jan 04, 2005 03:53 pm Robert,
Your UB802 does not have inserts. Some larger mixers have these. An insert is a place where you can 'tap' the signal on a channel strip. For exaple: You have a channel 1. You can input either a mic or a line in. The next thing down the channel 1 channel 'strip' is your gain adjustement. On some mixers there is a 'tap' called an insert where you can send that channel to a pice of gear and back again, kinda like an fx send but for just that channel, and 100% of the signal leaves the mixer and then comes back to the mixer. The signal path is actually broken. It is difficult to explain.
I think I would go [Main out mixer] to [EQ] to [compresser] to [exciter] to [mobile pre].
I also hope Noise is still around as I think he has done more equipment chaining than I have.
The idea is to bring levels from the microphone to an operating level that your equipment can best utilize. Your mixer can do this. There are no rules, but EQ is usually applied first because this can change your levels. The compresser will then even out those levels per your taste. Next the exciter will add 'sizzle' to the mix. Then your mobile pre can do last minute adjustments to levels before hitting the computer.
Wish I could explain it better, but hang in there, between all of us we will get you squared away.
Jan 04, 2005 04:32 pm lol.. walt, your a cool guy... thanks..
Jan 04, 2005 07:12 pm Yep, agree with your chain Walt. The exciter at the end is a good call as its effect would be squished by the comp, or at least nullified somewhat.
Jan 12, 2005 03:55 pm here is some stuff I found on the DUC and other spots that might help you with settings:
Stupid EQ Tricks
Aug 09, 2001 -
George Sawyer walks through some tips to getting the most from
your EQ by pointing out many key frequencies that can make a
dramatic impact on your sound.
Hi folks. Dan asked me to write sort of an "eq primer" for the
web site so here goes...I'm easily distracted, but I'll try to
remain focused.
A couple of ground rules first. One, you should try to cut
about five times as often as you boost, especially with
shelves. High and low shelves were designed to remove hiss and
rumble, respectively. Having said that, I use 'em to boost too.
Two, I'm in the habit of rolling off stuff on almost everything
I eq. I like to leave the low end to, well, low end
instruments-bass and drums. We all know that the human ear
hears about 20 to 20k. Well the first octave, (20 to 40 hz.) is
generally made up of stuff like thunder and trains. So don't
boost it, Ok?
Three, be VERY careful about boosting anything around 200 hz.
This makes your whole mix sound muddy. A little can fatten
things up, but hopefully you won't have to use this.
Four, take all this with a grain of salt. This is meant to be a
guideline, to help get you started. This is NOT meant to be a
cookie cutter solution to everything. If it sounds good, it is
good.
Kick Drum - Boost at 80 hz., cut around 350-400 hz., (removes
"cardboard" sound) and beater smack is around 2-4 k.
Snare Drum - Fatness at 240 hz., crispness at 5 k.
Hats/Cymbals - Gong sound at 200 hz., shimmer/air between 8-12 k.
Toms - Boom between 60 and 200 hz., scoop out 100 hz. to 4
khz., attack at 5 k.
Bass Boost between 80 and 150 hz., to make a passive bass sound
active, scoop around 350 hz., Boost 800 hz. for clarity or
punch, and the slappin' poppin' thing is around 2.5 k.
Electric Guitar - Rolloff at 80 hz., cut at 800 hz. to remove
"cheap" sound, and edge is around 2.5 k.
Acoustic Guitar - Bottom at 120 hz., body at 240 hz., clarity
at 2.5 to 5 k.
Piano/Organ - Just like acoustic guitar except piano might need
a little boost around 10 k.
Vocals - Scoop at 240 hz. if muddy, boost at 4 k for presence,
and anywhere above 8 k to brighten (sibilance is between 8 and
10 k).
Frequencies
50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should
reduce the effect of any microphone 'pops'.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low
frequency sounds are particularly vulnerable to phase
cancellation between sounds of similar frequency. This can
result in a net 'cut of the bass frequencies.
200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and
higher frequency percussion.
Boost or Cut: to control the 'woody' sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin
guitar sounds.
General: In can be worthwhile applying cut to some of the
instruments in the mix to bring more clarity to the bass within
the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a
knock to a bass drum.
1-3KHz
Boost: To make a piano more aggressive. Applying boost between
1KHz and 5KHz will also make guitars and basslines more
cutting.
Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh
sounding vocal part.
General: This frequency range is often used to make instruments
stand out in a mix.
3-6KHz
Boost: For a more 'plucked' sounding bass part. Apply boost at
around 6KHz to add some definition to vocal parts and distorted
guitars.
Cut: Apply cut at about 3KHz to remove the hard edge of
piercing vocals. Apply cut between 5KHZ and 6KHz to dull down
some parts in a mix.
6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost
the more 'airy/breathy' the result will be. Also boost to add
definition to the sound of acoustic guitars or to add edge to
synth sounds or strings or to enhance the sound of a variety of
percussion sounds. For example boost this range to:
Bring out cymbals.
Add ring to a snare.
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more 'airy' or for crisp cymbals and
percussion. Also boost this frequency to add sparkle to pads,
but only if the frequency is present in the original sound,
otherwise you will just be adding hiss to the recording.
Specific Instruments
Vocals
General: Roll off below 60Hz using a High Pass Filter. This
range is unlikely to contain anything useful, so you may as
well reduce the noise the track contributes to the mix.
Treat Harsh Vocals: To soften vocals apply cut in a narrow
bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound: Apply a gentle boost above 6KHz using a
shelving filter.
Get Brightness, Not Harshness: Apply a gentle boost using a
wide-band Bandpass Filter above 6KHz. Use the Sweep control to
sweep the frequencies to get it right.
Get Smoothness: Apply some cut in a narrow band in the 1KHz to
2KHz range.
Bring Out The Bass: Apply some boost in a reasonably narrow
band somewhere in the 200Hz to 600Hz range.
Radio Vocal Effect: Apply some cut at the High Frequencies,
lots of boost about 1.5KHz and lots of cut below 700Hz.
Telephone Effect: Apply lots of compression pre EQ, and a
little analogue distortion by turning up the input gain. Apply
some cut at the High Frequencies, lots of boost about 1.5KHz
and lots of cut below 700Hz.
Hi-Hats
Get Definition: Roll off everything below 600Hz using a High
Pass Filter.
Get Sizzle: Apply boost at 10KHz using a Band Pass Filter.
Adjust the bandwidth to get the sound right.
Treat Clangy Hats: Apply some cut between 1KHz and 4KHz.
Bass Drum
General: Apply a little cut at 300Hz and some boost between
40Hz and 80Hz.
Control The Attack: Apply boost or cut around 4KHz to 6KHz.
Treat Muddiness: Apply cut somewhere in the 100Hz to 500Hz range.
Guitar
Treat Unclear Vocals: Apply some cut to the guitar between 1KHz
and 5KHz to bring the vocals to the front of the mix.
General: Apply a little boost between 100Hz and 250Hz and again
between 10KHz and 12KHz.
Acoustic Guitar
Add Sparkle: Try some gentle boost at 10KHz using a Band Pass
Filter with a medium bandwidth.
General
Try applying some mid-range cut to the rhythm section to make
vocals and other instruments more clearly heard.
Background
Use EQ to assist in the production of a quality recording,
without changing the fundamental quality of the sound. This is
good recording practice.
The term 'Equalisation', abbreviated as EQ, comes from the
original intent of the invention - to make the recorded sound
match the original source. EQ units are essentially a
collection of frequency filters, often of different types, that
provide the ability to reduce (attenuate) or boost (amplify)
the signal strength of selected frequency bandwidths within a
source signal. EQ is used to make up for inadequacies in the
equipment and the recording environment, but it can also be
used as a deliberate effect.
EQ types
There are various different EQ types:
Fixed Frequency
This is an Equaliser that operates at one or more specified
frequencies, allowing the engineer to apply boost or cut at the
specified frequency.
Graphic
This is an equalliser that operates on a number of fixed,
preset frequencies. Any of these frequencies can be boosted or
cut independently of the other frequencies. Graphic equalisers
are normally composed of peaking type equalisers.
Paragraphic
This is a special type of Graphic Equaliser that allows the
adjustment of the center frequency of each band to be adjusted
by the engineer. Some also provide the ability to adjust the
'Q' or bandwidth of each filter.
Parametric
This is an equaliser that has a continuously variable center
frequency, over a given frequency range. The 'Q' is also
adjustable. If the 'Q' is not adjustable, the EQ is described
as 'Sweepable', 'Tunable' or 'Quasi-parametric'.
Peaking
This kind of equaliser allows boost or cut to be applied to a
source signal, using a bell shaped response curve. The Q
setting determines the width of the bell while boost or cut
determine the height or depth of the bell.
Shelving
This type of equaliser applieds boost or cut evenly to all
frequencies beyond a threshold frequency using a shelf shaped
response curve.
Sweepable
This kind of equaliser has a variable center frequency bu the
'Q' remains fixed.
Three Band
This kind of equaliser provides three separate frequency ranges
that can be boosted or cut at the same time. Usually these are
divided into low, mid, and high frequency ranges.
Two Band
This kind of equaliser provides two separate frequency ranges
that can be boosted or cut at the same time. Usually these are
assigned low and high frequency ranges.
EQ Techniques When Recording
Working with EQ
Generally, try and work quickly. Don't spend too much time on
any one problem as changes you make as you progress through the
mix could solve the problem anyway. It is improtant to remember
that it is not each sound in isolation that is important, but
the perception of each sound as part of the overall mix.
Spending a lot of time getting a sound perfect on its own can
be wasted effort as the changes you make may not be audible
when the sound is combined with others as part of a mix.
Noise Reduction
The purpose is to obtain the best recording possible. When
noise can't be removed by other means EQ may be able to sort it
out.
Low Frequency Rumbles
Sensitive high quality microphones can pick up low frequency
noise like traffic or household appliances air conditioning or
heating systems. These sounds can be almost undetectable when
using nearfield monitors, like Yamaha NS 10s.
Whenever it is possible listen to the input signal initially
using large main monitors. Once you are satisfied that the
effect of low level rumbles has been minimised you can continue
using nearfield monitors.
To use EQ to address the problem use the low frequency roll-off
filter on either your mixing console or, if it has one, the
microphone. This should not effect the overall tonal quality of
the sound unless you are recording something that contains a
great deal of low frequency sounds like a bass or cello.
Mains Hum
Mains hum normally contains far more than just the obvious 50hz
hum. It also contains some audible harmonics. To minimise any
mains hum effects:
Keep unbalanced cables as short as you can
Don't use fluorescent lighting
Keep Computer monitors away from your audio cables
Don't use dimmer switches
Separate your mains cables from your audio cables and keep them
apart!
Instead of standard guitar cables use guitar DI boxes and
balanced mike leads
Hiss
Hiss is a common problem, especially when you are layering
tracks in a multi-track recording. This is primarily because
the individual tracks each contain an element of high frequency
hiss. The best way to manage hiss is to remove it whenever you
can from each individual tracks. For bass instruments, noisy
guitars and electric pianos try applying a low pass filter at
about 8 kHz. Otherwise use noise gates to suppress signals and
therefor reduce hiss.
Interference
Unwanted interference has ruined many takes. When this occurs
you can try filtering the high frequency content of the signal.
Applying cut to the signal, lower the roll-off frequency until
the sound appears muffled. Now raise the roll off frequency
until the essence of the sound appears unaffected. It will
reduce high frequency content but at least it should reduce any
spillage from radio sources.
Noise Spillage
This comes down to learning from experience. You will need to
learn the characteristics of different types of microphones and
where and when to use them. The fundamental guides to
microphone usage are the sensitivity and polar pattern of the
microphone.
Knowledge of the recording environment is also essential to the
management of noise spill. Removing noisy equipment to a
separate area or room and placement of acoustic screens within
the recording environment are both useful in reducing the spill
from unwanted sources. Screens however can have a detrimental
effect on the performance, as it will interfere with any visual
communication between performers. Use of too much damping can
result in a flat and lifeless recording. Careful application of
EQ and a prudent use of acoustics screens can, in combination,
resolve the dilemma.
When separating musicians in an attempt to manage spill you
will need to be wary of introducing a slap-back echo of each
instrument. The resulting sound will be full of echoes and will
appear distant. Obviously these kinds of problems cannot be
rectified using EQ!
Unwanted Harmonics
When recording real instruments unwanted harmonics can cause a
ringing sound. Percussive instruments, particularly snare
drums, often suffer from this problem. Other instruments can
and do suffer from this problem, for example, even when an
instrument is played evenly some notes may seem especially
loud. Any number of sources can cause unwanted harmonics within
the recording environment itself from speaker cabinets,
furnishings, to the physical shape of the room. These kinds of
issues are best addressed by physical changes to the
environment. To reduce the occurrence or severity of unwanted
harmonics, using EQ, use either a parametric EQ or a sweepable
EQ with a very narrow bandwidth (Q). The EQ on budget mixing
consoles is liable to use to broad a bandwidth to be effective.
Instead, use a dedicated outboard EQ unit that has a good
adjustable Q control.
Identifying a frequency
Firstly, be careful! Turn down the volume before you start so
that the sound coming from your monitors is pretty quiet. If
you don't you run the risk of damaging both your ears and your
monitors. Set the Q to a very narrow bandwidth and set the
boost to between + 6dB and +12dB. Using the EQ frequency
control to sweep the frequency range in question. When you get
to the correct frequency it will be obvious because of the jump
in volume. Once you have identified the problem frequency
change the boost to a cut of -6dB. Set the overall volume back
to normal listening. While listening to the track adjust the
amount of cut so that the track sounds balanced. Finally,
change the Q setting to broaden the affected frequency to
achieve a smoother more natural sound. This is unlikely to
remove the ringing entirely but it should significantly improve
the problem. Be prepared, though, there could be more than one
unwanted ringing harmonic.
Adding Harmonics
You can also create new harmonics by boosting frequencies in a
narrow bandwidth. For example: if a bass drum is sounding dull,
try boosting a narrow band of frequencies in the 3 - 4kHz range
to get more of a kick to the sound.
Flat Frequency Response
If you use a cardoid microphone for close miking you will
encounter a colouration of the original sound, called "The
Proximity Effect". This means that the bass response of the
microphone is exaggerated resulting in a boomy sound. You could
move the microphone further away from the source or use an
omni-directional microphone but these solutions don't address
all situations, for example miking drums. Using EQ you can of
course cut some of the bass to make the drums sound more
natural. To capture the sound of a drum kit make sure you
compare the sound of the real kit with the sound that you hear
from monitors. To achieve something that sounds comparable you
are likely to need to use both a low frequency shelving EQ and
some low frequency roll-off. Drummers can be very particular
about the sound of their kit and, after all, it is an essential
part of re-creating the sound of the band.
Improving the Sound
Avoid any temptation into applying unnecessary EQ during the
track-laying phase of the recording. Leave this kind of EQ
until all the tracks have been recorded. At this point you
should have some idea about how the various tracks will sit in
the mix. This means that your EQing will be informed and you
will be more likely to get a track sound that fits well in the
mix. If you must tinker with the EQ for no other reason than
enhancement, be subtle. Use a broad bandwidth and only make
small adjustments to bass, mid and treble frequency ranges.
Don't roll off the extremities of frequency for any given track
unless you are sure you won't need it later in the recording
process. Once done it is very difficult to bring these
frequencies back. You can always apply the EQ to just the
monitor mix and leave you options open.
Analogue
Avoid cutting the high frequencies too much if you are using an
analogue tape multi-track because if you need to boost these
frequencies later you will most likely add hiss, even if you
use noise reduction. Analogue tapes also lose high end
frequencies when you use them, so it is often a good idea to
keep as much of the original high end content as you can. If
there are rhythm guitars or any other sharp guitar sounds in
the arrangement it can be worthwhile boosting the signal a
little between 4 and 8 kHz at mix-down. This should compensate
for any losses at the high end as a result of the recording
process.
Digital
The high frequencies should be approached similarly in the
digital domain. This is primarily because of the poor D to A
converters on most budget digital systems. These tend to add
significant hiss when a lot of high-end boost is applied.
General Be careful, if you make a mistake during the track
laying process you may not be able to fix the problem later in
the engineering process.
You can discuss this article in Articlestuff board in the
Songstuff Forum.
Goodluck with your settings, and remember to have fun when you are learning. Experimentation and the learning process are what makes us great engineers. :) Also, I might suggest a mic trick that my original mentor showed me for deeper vocals on guys. Its sort of like you are recording a bass guitar in a way. Try slightly stepping 45 degrees to the right or left of the mic, or backing off of the mic by a foot and singing. You will notice that some of the bass in your voice is gone when you do. One thing that can happen is you will get proximity effect where your voice sounds really boomy too close to the mic on some singers and when you get a really loud sound pressure level going into a mic at close range. Give it a shot and see what happens. You might like it and you might hate it, but there are a million and one ways to mic a singer. Also, don't forget to take your environment into consideration when you mic yourself. A really "padded room" such as a livingroom, bedroom...etc. will get more of a bass response and less natural reverb compared to a bathroom, kitchen...etc... Just watch out for phasing issues in the more "live" rooms and flutter echo getting into your recordings. Dan has a lot of great articles on that stuff. ;)
Goodluck!
Charlie
Aug 11, 2005 11:59 pm wow. Upping cuz that last post by riffgod is great (even if I don't 100% agree with everything that was said).
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