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EQ/Gain structure philosophy?
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<blockquote data-quote="Phillip Pietruschka" data-source="post: 146338" data-attributes="member: 7640"><p>Re: EQ/Gain structure philosophy?</p><p></p><p></p><p></p><p>Hi,</p><p></p><p>First of all if you've got a way of doing things and it works alright, then don't sweat it too much. It's good to try new things and see what you learn from it, but don't let your confidence get rattled to the point where you start to worry that everything you know or do is wrong. I have colleagues whom I hold in high regard who do many things during the mixing (and system tuning) different to me. We both get good, though not identical results. Many times the differences show both how we learned to do things, and where we have learned to do things; as someone with a long background mixing theatre, I don't really ever tune a system by making growling dog noises into a sm58. Though if I was micing up some growling dogs with SM58s perhaps I would...</p><p></p><p>1) In general yes. However, sometimes it can be more or equally sensible to group like signals together and eq the group. In short if what you are EQing is a characteristic of the sound system (speakers/room) then doing so on the system is ideal. If it is a characteristic of the source (including performer / instrument / microphone / mic placement) then channel strip or group eq can be appropriate. The few sources I routinely need to EQ for adequate gain before feedback I often do on a group rather than across the entire system so I don't butcher everything else in the mix, these sources are things like hanging microphones for vocal pickup on stage, and not sources typically found in a band input list. Another way to check, easily, is to play some well mastered music through the system and see if the same system EQ choices improve the total quality of the playback.</p><p></p><p>If your EQ choices are translating well to aviom then that would kinda suggest that perhaps they are characteristics of the source, or its just not a big deal, yes?</p><p></p><p>2) Well I guess, but it's rarely a problem in practise. How dramatic are you EQing? Some eq stages in digital boards, have a gain control as part of them, such as Yamaha. If you are routinely doing very large cuts and boosts, and the system is ok, perhaps you need to go and interrogate the source. Perhaps a change in microphone choice or placement will help. Most of which it sounds like you already do; it sounds like you are basically on the right track.</p><p></p><p>Best of luck with it.</p><p></p><p>Phillip</p></blockquote><p></p>
[QUOTE="Phillip Pietruschka, post: 146338, member: 7640"] Re: EQ/Gain structure philosophy? Hi, First of all if you've got a way of doing things and it works alright, then don't sweat it too much. It's good to try new things and see what you learn from it, but don't let your confidence get rattled to the point where you start to worry that everything you know or do is wrong. I have colleagues whom I hold in high regard who do many things during the mixing (and system tuning) different to me. We both get good, though not identical results. Many times the differences show both how we learned to do things, and where we have learned to do things; as someone with a long background mixing theatre, I don't really ever tune a system by making growling dog noises into a sm58. Though if I was micing up some growling dogs with SM58s perhaps I would... 1) In general yes. However, sometimes it can be more or equally sensible to group like signals together and eq the group. In short if what you are EQing is a characteristic of the sound system (speakers/room) then doing so on the system is ideal. If it is a characteristic of the source (including performer / instrument / microphone / mic placement) then channel strip or group eq can be appropriate. The few sources I routinely need to EQ for adequate gain before feedback I often do on a group rather than across the entire system so I don't butcher everything else in the mix, these sources are things like hanging microphones for vocal pickup on stage, and not sources typically found in a band input list. Another way to check, easily, is to play some well mastered music through the system and see if the same system EQ choices improve the total quality of the playback. If your EQ choices are translating well to aviom then that would kinda suggest that perhaps they are characteristics of the source, or its just not a big deal, yes? 2) Well I guess, but it's rarely a problem in practise. How dramatic are you EQing? Some eq stages in digital boards, have a gain control as part of them, such as Yamaha. If you are routinely doing very large cuts and boosts, and the system is ok, perhaps you need to go and interrogate the source. Perhaps a change in microphone choice or placement will help. Most of which it sounds like you already do; it sounds like you are basically on the right track. Best of luck with it. Phillip [/QUOTE]
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