Register    |    Sign In   |   
electronic MUSICIAN

How to EQ without an EQ Spartanburg SC

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.

Digital Home Tech, LLC
(864) 706-8651
104A Franklin Ave #168
Spartanburg, SC
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Satellite, Security / Access Control / Surveillance / Gate Access
Brands
All
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Gregory Olle, CEDIA Certified Professional EST II

Elite Audio Corporation
(864) 583-0604
1504 Asheville Highway
Spartanburg, SC
 
Audio Warehouse
(843) 571-0535
1941 Savage Road, Suite 100-A
Charleston, SC
 
HeAVI, LLC
(843) 224-8069
143 East Bay Street
Charleston, SC
 
Custom Theater & Audio
(843) 357-2121
5035 Highway 17 Bypass
Murrells Inlet, SC
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Multi-Room Audio
Brands
B&W, Berkline, Crestron, Definitive Technology, Denon, Elan, Escient, Fujitsu, Lexicon, LG, Lutron, Mitsubishi, Monster Cable, Niles, Panasonic, Pioneer Elite, Rotel, Runco, SharpVision, Sonance, Stewart Filmscreen, Toshiba Cinema, Yamaha
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Tom Ramirez, CEDIA Certified Professional EST II

Rogers Stereo, Inc.
(864) 527-1325
1244 Ashville Highway
Spartanburg, SC
 
Digital Home Tech, llc
(864) 706-8651
3720F Boiling Springs Hwy #285
Spartanburg, SC
Services
Home Theater/Media Rooms, Security, Automation/Control, Satellite, Networking, Audio/Video
Brands
All
Certifications
THX /Home Theater Tech2, CEDIA /EST2 & ROI, CompTia CEA /DHTI+

Digital Home Tech, LLC
(864) 706-8651
104A Franklin Ave #168
Spartanburg, SC
Services
Audio / Video, Home Automation / Systems Integration / Home Networking, Home Theater, Satellite, Security / Access Control / Surveillance / Gate Access
Brands
All
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Gregory Olle, CEDIA Certified Professional EST II

eLifespaces
(843) 577-5644
1799 Meeting StreetP. O. Box 21750
Charleston, SC
Services
Acoustical Design, Home Automation / Systems Integration / Home Networking, Home Theater, Lighting Control, Security / Access Control / Surveillance / Gate Access
Brands
McIntosh, Digital Projections, Integra, Genelec, Jamo, totem Acoustics, Stealth Acoustics, Sonance, LiteTouch, GE, CentraLite, Russound, Crestron, Screen Research, Panamax, EquiTech, UltraLink, Middle Atlantic, Fortress Seating
Certifications
One or more employees at this company have achieved CEDIA Professional Certification status:- Frederick T Fabian, CEDIA Certified Professional Designer- Mikell Murray, CEDIA Certified Professional Designer, CEDIA Certified Professional EST II- Frank Smith, CEDIA Certified Professional EST III (Advanced EST), CEDIA Certified Professional EST II

Best Buy
(843) 626-9357
1145 OAK FOREST LN
Myrtle Beach, SC
 

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