A Follow Up EQ Question..

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D-Cipher

New member
I just wanted to know from the more professional mixers here....is it commin to use a Hi Q when mixing? ...i mean...when using a parametric EQ its alot easier to get the exact frequency u want from the hi Q...but i find that it makes the sound stand out of the mix too much....or when boosting vocals using hi Q's to boost things almost makes the vocals sound too thin, like ur leaving too much behind....but when usin a low Q I run into problems like ...i like some of the frequencies...but theres still some in the middle i could go without...

this is another reason 2 band parametrics bother me....i dont see how u could possibly get a more precise mix from a 2 band compared to 6 or 8 band...

I was just really wondering what the industry standard is..

someone help! ahah

thanks
 
The industry standard is to just use what's needed - If it's more than a few bands, there is probably something quite wrong with the source.

Narrow Q is useful for a particular overtone that jumps out or to notch out monitor whine. Wider Q will normally sound more natural. I tend to sweep narrow and then widen to what I need if I'm "fishing" for frequencies.
 
when u say sweep narrow and then widen ....ur talking about a technique correct? ....thats how i was taught to EQ ...by boosting a frequency so it noticeably stands out , using a hi Q and sliding until i hear nice frequencies, then I usually fix the level and widen the Q until it sounds "natural" as u put it so well haha


I tend to find myself Boosting more then cutting, which I've recently heard isnt the correct way to go about things....
 
Yeah, there are different schools of thought on that, but I probably cut 9 out of 10 times... Still, it depends on what you need.
 
Parameterics can have more than 2 bands, so I'm not clear on your statement in regards to:

"i dont see how u could possibly get a more precise mix from a 2 band compared to 6 or 8 band..."

If you're comparing a parametric to a graphic EQ with multiple bands, you can be more accurate with a paramteric since you are not limited to a fixed frequency or Q.

In regards to boosting or cutting, do what needs to be done. For example if you hearing ringing from one of the instruments (e.g. snare drum) sweep the parametric until you find the frequency then cut it. It would not make sense trying to boost everything else to fix the ring. By cutting the one frequency this is essentially what you are doing anyway.

Also when sweeping to find frequencies it isn't necessary to boost while sweeping. Personally I like to boost or cut based on the final use that way you can hear the results immediately. It takes a little more of a trained ear to hear the cut rather than the boost, but its good ear training anyway if you're not used to do this.
 
isn't it pretty clear from the quote you chose that i was aware there are parametric EQ's with more then 2 bands? ...am i missing something here?


basically I guess i just started the whole boosting habit trying to manipulate my mic to sound brighter when comparing with industry songs....

I've been mixing my own songs for about 2 years....and am just now understanding things clearly...so I have alot of bad habits like that
 
D-Cipher said:
isn't it pretty clear from the quote you chose that i was aware there are parametric EQ's with more then 2 bands? ...am i missing something here?


basically I guess i just started the whole boosting habit trying to manipulate my mic to sound brighter when comparing with industry songs....

I've been mixing my own songs for about 2 years....and am just now understanding things clearly...so I have alot of bad habits like that
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Sorry wasn't clear to me, when you said "compared to 6 or 8 band..." I wasn't clear on what the "..." meant. 6 or 8 band graphic or parametric. Some posts can be very ambiguous so it's good to spell it all out before some flame starts up :-)

If you're trying to boost EQ for more mic presence than what you are doing isn't a bad habit, in fact it's pretty typical. If you were trying to remove sibilance than a cut would be more appropriate. Another typical EQ setting for vox is to use a high pass filter and remove all the stuff below around 80 Hz. Unless Barry White is singing, there probably isn't much down there from the vox.
 
masteringhouse said:
Sorry wasn't clear to me, when you said "compared to 6 or 8 band..." I wasn't clear on what the "..." meant. 6 or 8 band graphic or parametric. Some posts can be very ambiguous so it's good to spell it all out before some flame starts up :-)

If you're trying to boost EQ for more mic presence than what you are doing isn't a bad habit, in fact it's pretty typical. If you were trying to remove sibilance than a cut would be more appropriate. Another typical EQ setting for vox is to use a high pass filter and remove all the stuff below around 80 Hz. Unless Barry White is singing, there probably isn't much down there from the vox.
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the presonus tube pre I have uses the 80 KHZ filter....i always keep it on...but when EQin i dont use the hi pass filter ...it seems to devestate the bottom end...(and Hip Hop, whether u are familiar or not) is heavy on the lows ..

and im almost positive they cut the hi's .... and just boosted a lil around 5000...

I'm going for a mid 90's style hip hop sound btw ....i should mention that ...i always use Big Pun - Capital Punishment album as a reference...I should try calling the engineers from that project and asking them the techniques they used lol...thought they probably wouldnt take too kindly to that
 
hey masteringhouse , i just checked out ur site...

noticed u guys did alot of different stuff...

i was just curious if u had ever mastered hip hop....or even rap..
 
D-Cipher said:
hey masteringhouse , i just checked out ur site...

noticed u guys did alot of different stuff...

i was just curious if u had ever mastered hip hop....or even rap..
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I would say that about 90% of the work I do is in the rock field, but yes I've done Rap, Hip-Hop, R&B, Blues, Bluegrass, Folk, just about everything but Classical music. Most of the Hip-Hop music has been from local artists in the Philly area.

I tried to find some interviews with Tony Smalios (engineer for Big Pun) but not seeing much. I think this is one of the studios that he works from:

http://www.uniquerecording.com/staff.htm

No contact info though ...
 
thanks alot man.

the album was mastered by Leon Zervos, if that name means anything to you.

is there any way i can contact you more personally? I'm looking to have an album mastered and have some questions
 
D-Cipher said:
thanks alot man.

the album was mastered by Leon Zervos, if that name means anything to you.

is there any way i can contact you more personally? I'm looking to have an album mastered and have some questions
Click to expand...

I don't know Leon and haven't had any contact with him. He works for Sterling Sound, so I'm sure that he does great work.

You can reach me via my contact page at:

http://www.masteringhouse.com/contact.html

Thanks,
Tom
 
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