Register    |    Sign In   |   
electronic MUSICIAN

How to EQ without an EQ El Dorado AR

We'll also assume that it's obvious your mic selection will influence the sound of the track, as will the use of high pass filters built into many mics themselves (technically still an equalizer). But aside from all that, here are some additional ways to shape your sound without EQ.

Best Buy
(479) 709-8939
4195 PHOENIX AVE
Fort Smith, AR
 
Smart Southern Homes, Inc.
(501) 687-0000
3416 Old Cantrell Rd
Little Rock, AR
 
Automated Concept Specialists, Inc.
(479) 651-4831
1808 Queensbury Way
Fort Smith, AR
 
Sound Concepts
(870) 268-8178
2924 Longview Suite A
Jonesboro, AR
 
Custom Home & Commercial Electronics
(479) 750-7111
P. O. Box 1383
Fayetteville, AR
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Security / Access Control / Surveillance / Gate Access
Brands
Sony A/V designers; Touch screens; Lutron lighting; Stewart screens; UStec structured wiring systems; Doorking, FAAC & sentex gate systems; Ademco security & all other major brands.
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- James (Butch) Coger, CEDIA Certified Professional EST II

Best Buy
(479) 619-2301
2220 PROMENADE BLVD
Rogers, AR
 
Durham Electronics
(501) 224-2349
10014 N. Rodney Parham Durham Electronics
Little Rock, AR
 
Audio Dimensions
(405) 843-3355
1111 S. Bowman Rd., Suite B2
Little Rock, AR
 
Auto Audio & Video, Inc
(501) 225-7737
11301 West Markham
Little Rock, AR
 
Laws Electronics
(479) 452-1413
6802 Rogers Avenue #3 Laws Electronics
Fort Smith, AR
 

How to EQ without an EQ

As you’ve probably guessed, the place to start is the sound of the instrument itself. If that doesn’t sound the way you want it, it’s going to be awfully hard to convince it to sound that way later with lots of EQ. But for the purposes of this article, we’ll assume you know that, and you have your instruments dialed in the way you want them. We’ll also assume that it’s obvious your mic selection will influence the sound of the track, as will the use of high pass filters built into many mics themselves (technically still an equalizer). But aside from all that, here are some additional ways to shape your sound without EQ.

Use the mic’s pickup pattern to your advantage. Often, placing a mic off axis to the instrument sounds better than dead on. Rather than point a mic straight at a speaker cone on a guitar amp, for example, try angling the mic a bit so it points slightly away from the speaker. You’ll often find there’s less mud that way, and the track sits better in a mix with bass and drums.

Make good use of bass proximity. A mic in any pickup pattern other than omnidirectional will have a bass bump as you move close to it, while the low end will start to drop off as you move it farther away from the source. Want more low end? Move the mic closer to the source. Do the reverse for less low end.

Take advantage of comb filters. Whenever you have two or more mics on one source, the signals and the reflections hitting the two mics will combine with each other and cause some frequencies to be cancelled or attenuated and others to be amplified — an effect known as a comb filter. You can’t get rid of comb filtering entirely; whenever you combine an original sound source with its reflections, or two different miked signals, comb filtering is inevitable. The question is, does the effect sound good or bad? Placing the mics in the “wrong” spot relative to each other may result in a lot of cancelled fundamental frequencies, producing a thin, incoherent sound. A comb filter that amplifies the instrument’s fundamentals, on the other hand, will create a more powerful and cohesive sound.

Normally you look for the “sweet spot” when using multiple mics — the spot where each mic sounds good on its own, and the combination is phase coherent and sounds solid. But sometimes, you actually want to create a thinner, weaker sound if the instrument is meant to be a background pad or ambient coloration. I’ve often used this technique to make an organ track seem to float on top of a mix, for example — organ can be overbearing at times and seem to hog the whole mix, but using two mics on it and placing them so there’s a bit of phase cancellation can give it a spacious, ethereal quality that sits very nicely in the mix.

Or you may want to bring out certain overtones in the instrument by creating a comb filter that amplifies those overtones. It’s not necessary to do a lot of math and figure out the exact distance the mics must be from one another to achieve this (although you ...

Click here to read the rest of the article from EQ Magazine

Discover Emusician