Recording - September 2013 - 64

multiple bands, and it would mean that more frequencies were receiving a
gain change. Simple eq is usually faster, and often sounds better too.

than cutting. If it sounds good to you, it is
good. Boost away!
The attack on the anti-boosting league
off my chest, I must acknowledge that there
are some tangible merits in the avoidance
of boosting. Yes, noise can increase, especially when boosting the high end.
Headroom can also be a problem. Eq boosts
raise overall level, and the following stage
in the signal chain can overdrive and distort
if level boosts are significant.
Another boosting pitfall is the tendency to boost the treble on too many sources
in a mix. Sizzly cymbals are great, but
when they are combined with a bright
vocal, some sharp guitars, and full-range
snare drum, a track can become too
bright to enjoy. Not every element in a
mix should be eq’d to maximum glory.
This is one reason why ribbon mics have
seen a resurgence in recent years.
Considerably darker than condensers,

Use your ears! (...and eyes... maybe?)
Simple eq also looks better, which segues into my next point. Eq-ing is an
act we do with our ears, not with our eyes. In the old analog days, this was
less of a issue, as equalizer controls were typically rudimentary knobs and
sliders. With today’s plug-in based processors, we regularly see and manipulate eq curves on screen. This can lead an engineer to make poor sonic
decisions based solely on what a curve looks like. Use your ears, silly.
Of course, seeing eq is not necessarily a bad thing. In fact, it can greatly
aid both ear training and the visualization of sound. But be cautious with
visual input, as it can easily convince you that you are hearing something
you are not. Always make final decisions with your ears. In my studio, I use
a hot key to instantly blacken the computer monitor when mixing.
Following critical moves, I darken the screen and listen unhindered. As an
alternative, you can simply close your eyes and listen. This technique works
well too, but it can put you to sleep if the music is boring!
The plug-in revolution has had another effect on our ears-eyes relationship. While classic equalization processors used to be relegated to expensive studios, anyone with a computer now has access to cheap, modeled software-based equalizers. These processors look really cool, and who doesn’t
love having racks of Neve, API, SSL, and Pultec modules ready and available in their personal computer? Educationally, modeled equalizers are
fantastic, as they expose legions of young engineers to classic analog interfaces and workflows.

Can you recognize a resonance in a vocal recording as centered at 400
Hz? How quickly can you find and implement a 2.5 kHz dip on an electric guitar track? Ear training can help you learn.
ribbons can be placed on specific instruments to help them blend better with
other bright modern-sounding sources.
Likewise, leaving an instrument flat without a treble boost might actually make
your mix more palatable.
Another possibility many shy from
boosting on an eq is that it can be easier
to hear than cutting. Our ears are often
more sensitive to frequency response
peaks than dips, and thus cutting troublesome frequencies can sound more
natural than boosting those frequencies
we like. I don’t wholeheartedly subscribe
to this approach, however.
My eq philosophy is to manipulate
tone with the least (and simplest)
amount of eq possible. If I desire to
brighten a voice, for example, I might do
it with a simple shelving boost at about
10 kHz. Yes, I could inversely achieve
similar results by cutting all frequencies
below 10 kHz, but this would require
more effort, a more flexible eq and/or
64

RECORDING September 2013

There are downsides to plug-ins, though. Modeled eqs rarely sound the
same as their analog counterparts, and can mislead inexperienced engineers. A plethora of competing products also exist on the market, making a
purchase decisions difficult. The answer to these issues is to use your ears.
If possible, double-blind compare as many software eqs as possible before
committing to a purchase. You might be really surprised which plugs win. It
might not be the most expensive or best-looking product, challenging you
to step up and make a financial decision with your ears, not eyes.
In closing, the multitude of available eq options today makes the age-old
audio mantra even more timeless: everything has its own sound. Every eq,
be it software or hardware, modeled or of original design, offers a unique
sonic signature. It is up to us to learn what equalizer sounds best on what
source. I love the sweet high end of an analog eq, but should I invest in an
A Designs, Manley or Avalon? Digital eq offers precise control, but which
one of the dozens of plug-in eqs installed in my computer should I use on a
tenor saxophone? These answers only come from comparison, and thus
recording and mixing are never-ending learning processes.
Next month, we’ll start looking at another crucial and often-misunderstood recording fundamental: dynamics control, including compression,
limiting, expansion, and gating. See you then.
Eric Ferguson (ferguson@recordingmag.com) spent a dozen years as a freelance audio engineer in Los Angeles, and is now on the faculty of the New
England School of Communications (NESCOM) in Bangor, ME.



Recording - September 2013

Table of Contents for the Digital Edition of Recording - September 2013

Recording - September 2013
Fade In
Contents
Talkback
Fast Forward
The History And Mystery Of Monitoring: A Chat With JBL’s Peter Chaikin
Better Sounds From Tight Spots
Do It Yourself: Fix Your Cables—Save Your Money!
Emotiva Pro Stealth 8 Monitors
MOTU Track16
Ashman Acoustics SOM50 Microphone
Sontronics Sonora 2
Stop Sound Leakage!
Drawmer MC2.1 Monitor Controller
Do It Yourself: Build Acoustic Treatment Right Into Your Walls!
From Shed To Studio
Sneak Previews: Apple Logic Pro X and Avid Pro Tools 11
Readers’ Tapes
Plug-In Outlet: FXpansion Bloom
Recording Fundamentals. Chapter 21: Equalization—Part 2
Advertiser Index
Fade Out
Recording - September 2013 - Intro
Recording - September 2013 - Recording - September 2013
Recording - September 2013 - Cover2
Recording - September 2013 - 1
Recording - September 2013 - 2
Recording - September 2013 - 3
Recording - September 2013 - Fade In
Recording - September 2013 - 5
Recording - September 2013 - Contents
Recording - September 2013 - 7
Recording - September 2013 - Talkback
Recording - September 2013 - 9
Recording - September 2013 - Fast Forward
Recording - September 2013 - 11
Recording - September 2013 - 12
Recording - September 2013 - 13
Recording - September 2013 - The History And Mystery Of Monitoring: A Chat With JBL’s Peter Chaikin
Recording - September 2013 - 15
Recording - September 2013 - 16
Recording - September 2013 - 17
Recording - September 2013 - 18
Recording - September 2013 - 19
Recording - September 2013 - 20
Recording - September 2013 - 21
Recording - September 2013 - Better Sounds From Tight Spots
Recording - September 2013 - 23
Recording - September 2013 - 24
Recording - September 2013 - 25
Recording - September 2013 - Do It Yourself: Fix Your Cables—Save Your Money!
Recording - September 2013 - 27
Recording - September 2013 - 28
Recording - September 2013 - 29
Recording - September 2013 - Emotiva Pro Stealth 8 Monitors
Recording - September 2013 - 31
Recording - September 2013 - 32
Recording - September 2013 - 33
Recording - September 2013 - MOTU Track16
Recording - September 2013 - 35
Recording - September 2013 - Ashman Acoustics SOM50 Microphone
Recording - September 2013 - 37
Recording - September 2013 - Sontronics Sonora 2
Recording - September 2013 - 39
Recording - September 2013 - Stop Sound Leakage!
Recording - September 2013 - 41
Recording - September 2013 - 42
Recording - September 2013 - 43
Recording - September 2013 - 44
Recording - September 2013 - 45
Recording - September 2013 - Drawmer MC2.1 Monitor Controller
Recording - September 2013 - 47
Recording - September 2013 - Do It Yourself: Build Acoustic Treatment Right Into Your Walls!
Recording - September 2013 - 49
Recording - September 2013 - From Shed To Studio
Recording - September 2013 - 51
Recording - September 2013 - Sneak Previews: Apple Logic Pro X and Avid Pro Tools 11
Recording - September 2013 - 53
Recording - September 2013 - Readers’ Tapes
Recording - September 2013 - 55
Recording - September 2013 - 56
Recording - September 2013 - 57
Recording - September 2013 - 58
Recording - September 2013 - 59
Recording - September 2013 - Plug-In Outlet: FXpansion Bloom
Recording - September 2013 - 61
Recording - September 2013 - Recording Fundamentals. Chapter 21: Equalization—Part 2
Recording - September 2013 - 63
Recording - September 2013 - 64
Recording - September 2013 - Advertiser Index
Recording - September 2013 - 66
Recording - September 2013 - 67
Recording - September 2013 - 68
Recording - September 2013 - 69
Recording - September 2013 - 70
Recording - September 2013 - 71
Recording - September 2013 - Cover3
Recording - September 2013 - Cover4
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