![]() I used to get this question from drummers all the time. Whether it is a guitar, a bass, a drum kit or any other input, you should not try to change the inherent properties of that signal. Once you have found the microphone you need, it is time to actually look at the source. There are different types for different applications. Microphones are not created equal for a reason. Matching the microphone to the source is your first real EQ. Now the heart of the chain is really the microphone. If the design permits, that is where I start. Analog? Digital formats like AES, MADI, DANTE?. I think the hardest part might be choosing a drive format. They are getting very cheap these days and there are many good ones. By speaker system I mean everything including what powers it. Once you have the speaker system correct, we can step back through the chain. Rule number one: Do not get in the way of an already linear system. If we start adding variables along the way it will all add up to be a huge mess that will be compensated with EQ, which will make matters worse. This must also be accomplished with as much true linearity as possible. Meat grinders don’t care what goes into them when they are chewing things up.įirst things first, being very careful to get the energy in the right area and keeping it off where it doesn’t belong is the key to evenly distributed energy and your first EQ. There is a tendency when upgrading a sound system to want to change the console first and think this will make a difference. EQ-ing an unbalanced, nonlinear system will just give the grinder more teeth for which to chew. If you have a speaker system that is a meat grinder of anything you put into it, it doesn’t matter what you feed it. We have to start at the speaker end.Ĭhoosing the right speaker is the first EQ building block in the reverse chain. Ok, then where does EQ start? Even though EQ starts at the source, we will start backwards. I don’t care if it’s cut or boost, the result is still the same. ![]() The narrower the band and the more drastic you get with it, the more destruction it will cause. and we are not going to discuss any of them. Now, there are different types: 31 band graphic, parametric, low pass filters, high pass filters, etc. If you saw what an EQ actually does and the destruction that it causes, you would use it only when absolutely necessary and only on your inputs. It is a last resort and must be used very sparingly in order keep the integrity of source. It is simply there to adjust the direct energy from the system that cannot be corrected any other way. FOH EQ was never meant for correcting inherently bad speakers, speaker designs or even rooms with bad acoustics. EQ in the audio stream is the most misused and destructive part of the chain. ![]() Ok, also the women from the girls for those who will send me politically correct emails about old sayings. This subject is where the men are separated from the boys. Fourier did us no favors in understanding audio.” Wrap your head around that for a while and let me know what you come up with. One of the smartest men who has ever lived in this industry said to a group of us once: “There is no such thing as frequency. In the meantime, here is something for you to chew on.
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