ten band graphic eq

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adiel

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does anybody know how to use a ten band stereo eq for mixdown?
saw this done once but can't remember exactly how. all bands where eithr - or = dbs and compression after i think.
 
put the eq in the chain and start monkeying.

i'm not so sure a graphic like that is the best choice. the Q on graphics are pretty distinct.

MIke
 
Graphics are OK for gentle curve shaping on mixdowns, but a 10-band is a bit rough on the resolution. I wouldn't recommend anything short of a 2/3rd octave (15-band) - and preferably a 1/3rd octave (31-band) - for that purpose, but if a 10-band is all you got, it can be servicable.

I'd get the mix right first so that it compresses OK, then use *only if necesary* the graphic EQ just to gently shape the result. No big scoops or mountains in the graphic curve, just something to "fine sand" the final mix. Keep the curve centered around 0dB with a general balance of boosts and cuts on either side of zero.

If you find yourself having to do any major boosts or cuts (anything more than a few dB plus or minus per band) at that stage just to make it sound good, you might want to go back and try a re-mix..assuming you have the original mix tracks available.

G.
 
a 10 band can be great but I would use it after the mix, not while you're mixing. they tend to have crappy headroom and you wouldn't want to screw up a mix because of that thing. get the mix good and apply it after. they really can work wonders if you use it right.
 
10-band eq mixdown

they where using it as a compensation pre-compression type of chain.
something to do with the fixed bands and not unity gain. or something.
 
I dont know what "they" were using it for but I've used it to remove frequency masking and it seems to work well.
 
FALKEN said:
I dont know what "they" were using it for but I've used it to remove frequency masking and it seems to work well.
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yes that is sort of what i'm talking about after the mixing for mix down. i know they sqashed the mix after raising each band i think,
 
It sounds like they were using it as corrective EQ to remove the unwanted stuff that would otherwise be enhanced by the compression.

Personally, I prefer using parametric EQ for that purpose, because it allows for much more precise targeting of the frequencies to be cut. Plus a 10-band graphic is pretty coarse resolution to use for corrective EQ; there could easily be "probelm" frequencies that fall in between the wide cracks of a 10-band graphic. I'd use the parametric for the correective EQ, then compress (not squash, BTW), and then the graphic would follow after the compression just to "fine sand" the post-compression sound.

But there's more than one way to skin any cat.

G.
 
FALKEN said:
my massive passive probably doesn't have more than 10 points on it. but I haven't counted. :D
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And, frankly, if one needs more than 10 bands of parametric and/or tunable bandpass, one had probably better go back into the mix and get it right ;).

The difference is Adiel is talking about 10-band graphic, which is a whole other animal. Kinda hard to tame a harmonic at 180Hz without scooping out a boat load of warmth along with it if one only has fixed center points of 125 and 250Hz. ;)

G.
 
ah. you're missing me. it doens't have 10 bands. It has 4 per channel. But the frequency points are fixed. Each band has maybe 6 and they overlap. many of the sought after vintage eq's have fixed frequency points.
 
Sorry, I misunderstood you. I should have known better, I'm familiar enough with the Manley; I had tunnel vision. Apologies. :o

That said, though, the example (and it is just one example) about taming a harmonic that otherwise winds up getting emphasized during compression still applies. No matter how good it's "sound", IMHO the MMP would not the right tool for handling that kind of correction...unless the offending frequency just happens to fall within the box's preset parameters.

If we're talking corretcive, pre-compression EQ, IMHO, it's best to target the offending sounds as surgically as possible. If I want that Manley sound (and I happen to be in a studio that has one...I admire your ability to afford an EQ that costs as much as my entire outboard rack ;) ), I can always use that during the tweak EQ after compression.

YMMV, and probably does. :) . Just making conversation. :)

G.
 
FALKEN said:
so what would you use?
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For corrective pre-comp EQ I have been using Elemental Audio's Eqium more than anything else. A rather neutral sound, and about as flexible and surgical as one can get for that purpose, with 8 bands of fully-variable selectable parametric, -pass, -shelf, notch, and harmonic filtering. That of course assumes working in the digital domain, which I do that that point. If I'm in a studio with quality analog iron, I'll choose the "best" tunable parametric/bandpass/filters they have that will target the problem freqs.

I have worked with a MMP in the past; it's a great piece of gear! I'd love to have one myself for tinting my tracks and even my mixes with that great Manley sepia tone. But again, it's not going to be my tool of choice for targeted 2mix *correction* unless the problem just happens to fall within its available parameters.

Again, YMMV, IMHO, QUIDPROQUO, ETC. :)

G.
 
ten-band eq to 2trk

SouthSIDE Glen said:
For corrective pre-comp EQ I have been using Elemental Audio's Eqium more than anything else. A rather neutral sound, and about as flexible and surgical as one can get for that purpose, with 8 bands of fully-variable selectable parametric, -pass, -shelf, notch, and harmonic filtering. That of course assumes working in the digital domain, which I do that that point. If I'm in a studio with quality analog iron, I'll choose the "best" tunable parametric/bandpass/filters they have that will target the problem freqs.

I have worked with a MMP in the past; it's a great piece of gear! I'd love to have one myself for tinting my tracks and even my mixes with that great Manley sepia tone. But again, it's not going to be my tool of choice for targeted 2mix *correction* unless the problem just happens to fall within its available parameters.

Again, YMMV, IMHO, QUIDPROQUO, ETC. :)

G.
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all i know is that the mix sounded thick and hot after compression.
but this me was working for kool and the gangs producer so it might be a style related type of mix. down in miami.
 
adiel said:
yes that is sort of what i'm talking about after the mixing for mix down. i know they sqashed the mix after raising each band i think,
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This makes me wonder if the EQ wasn't just sidechained to the comp to help tune the compression itself and not for actual EQ'ing.
 
xstatic said:
This makes me wonder if the EQ wasn't just sidechained to the comp to help tune the compression itself and not for actual EQ'ing.
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Kind of synthing a 10-band MBC (in a rough kind of way, anyway)? Yeah, that's certainly a possibity.

Adiel, like I said earlier, theres many different ways of skinning the mastering cat. It not only depends upon genre like you said, but it depends on the actual tracking, the characteristics of the mix, and a whole bunch of other technical details that this board will never know as applied to the specific situation you witnessed.

If you're looking for a specific mastering recipe for using a 10-band EQ, that's like looking for a specific cooking recipe for using kosher salt. You use the EQ when and where your ears tell you it's needed, just like you use the salt when and where your mouth tells you it's needed.

As I re-read your posts, something like what xstatic describes for a signal chain may indeed be what you witnessed. But without further detailed information, we can only make guesses, because there is no one single definitive answer to "how to use a 10-band EQ for mixdown".

G.
 
ok I was totally wrong. I got home and looked at the massive and it has 34 different frequency points. :cool:

But I still stand by my statement that you can do a lot with a 10 band. its not the gear its how you use it and what your goals are.
 
FALKEN said:
But I still stand by my statement that you can do a lot with a 10 band. its not the gear its how you use it and what your goals are.
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And what if your goals are to correct problem frequencies in the mix before comping?

G.
 
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