Record identical sound sources (a voice or an instrument) using the following tech-niques. Record a minute or two of each to different tracks on your DAW. Adjust the pre-amp gain to achieve identical levels for each example.
1. A directional dynamic mic from a distance of at least 1 foot.
2. The same directional dynamic mic from a distance of just a couple of inches.
3. A small diaphragm directional condenser mic from a distance of at least 1 foot.
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4. The same small diaphragm directional condenser mic from a distance of just a couple of inches (with a pop filter for vocals).
5. A large diaphragm directional condenser mic from a distance of at least 1 foot.
6. The same large diaphragm directional condenser mic from a distance of just a couple of inches (with a pop filter for vocals).
7. An omnidirectional mic from a distance of at least 1 foot.
8. The same omnidirectional mic from a distance of just a couple of inches (with a pop filter for vocals).
9. Using mics of different polar patterns move the sound source around the mic as you record.
10. Then try similar things with tube mics and ribbon mics if you have them.
Listen to each example. How do they sound different?
• How do the near and far positions sound different?
• How do the near and far positions of the omnidirectional mic compare to the direc-tional mic?
• How does the timbre, level of detail, and intimacy of the sound compare between the dynamic, small diaphragm condenser, and large diaphragm condenser (and ribbon and tube mics if you have them)?
• How does the off-axis sound differ between a cardioid and omnidirectional mic?
What happens to the sound as you move more off-axis on a cardioid mic?
IN THIS CHAPTER:
4.1 What is EQ? 100
4.2 Last Resort, and Creative Mix Tool 100
4.3 Can You EQ Spill? 101
4.4 EQ Filters 102
4.5 Analog vs Digital EQ 106
4.6 Additive vs Subtractive EQ 107
4.7 The Fewer Filters the Better 109
4.8 How Much to EQ? 111
4.9 When to EQ? 111
4.10 Golden Rules of EQ 111
4.1 WHAT IS EQ?
Equalization, or EQ, is available on every mixing console and in every DAW. At some point during most recording and mixing projects, EQ will probably be necessary. This chapter is included in this book because EQ is such an intrinsic part of the recording process, used to complement the mic techniques discussed later.
EQ changes the relative frequency balance of a sound. It allows different frequency ranges to be boosted or attenuated by variable amounts. EQ traditionally works by manipulating the relative phase and timing of frequency bands, causing boosts or attenuations of those frequency ranges. Because the temporal (phase) integrity of the audio is changed, EQ should be considered a relatively destructive process – and its use avoided if there are other solutions.
Different analog EQs, using different circuitry, and different EQ plug-ins sound different.
(Although some EQ plug-ins sound remarkably identical to each other because they use the same underlying algorithms.) There are certainly some cheap EQs available that sound bad because of the extra artifacts they color the sound with. Conversely, there are also (usually expensive) EQs available that impose very desirable side-effect characteristics on the sound!
4.2 LAST RESORT, AND CREATIVE MIX TOOL
Because the relative phase of a sound’s frequency content is changed as part of most EQ processing, it is best to consider EQ a “last resort,” and not a go-to tool. When recording or tracking, you, the engineer, should aim to capture the best, most desirable sound possible. “It sounds OK…. It’s not quite right, but we’ll EQ later,” is not a professional way to approach recording. Positioning a suitable mic where it makes the instrument sound good is a profes-sional way to approach recording!
Corrective EQ is not a substitute for good sound sources, good mics, good mic technique, or a great sounding room to record in. The characteristics and frequency content of a recorded acoustic sound source can be changed significantly by using different microphones, different mic techniques, and even different sound sources, as a preferable natural acoustic alternative to EQ. If something doesn’t sound right when it is being tracked, the problem should be identified and fixed, by changing one or more of those variables. Aside from minor tweaks, it is rarely possible to “fix it in the mix.”
EQ is a creative tool that should be used to achieve clarity in a mix – assuming great sound-ing tracks were recorded in the first place. The stereo soundstage is the space-compressed environment between the loudspeakers, into which many sound sources are placed. Most loud or important sounds are panned on top of each other in the center, where they compete for physical and frequency space. While building up a recording layer by layer, it is impossible to anticipate what specific EQ or timbre each element will need in order to sound good together – this will only be evident when they are all at appropriate mix balances and pan positions.
real pitch definition and clarity. Possible solutions include:
• Moving the mic further from the sound source to reduce proximity effect.
• Using a less muddy sounding mic.
• Dialing in an alternate sound on the bass amp.