Tracking eq. The more I do this the more I like it

[mixsit]

Tracking my friend's vocal last night, started with my generally good to go-to first guess; 4047, Chameleon, P38 comp in.
Warm-ups, play back, adjust distance (HP is on the Chameleon fwiw) stir blend and adjust in the mix.
Now it's mostly good to go but for some damed 'too thick stuff- 100-200ish.

So now here we are.
Do we go into 'keep looking, find that 'perfect mic for that voice' mode?
The sound is pretty close. Quick mental check. Is there a mic that has that right shape?
(Would I have it anyway..
Phooey. I dial in (out..) a bit of low shelf, 110, it fits.

Between the variable HP and low shelf are few different shapes for 'lead and harmony modes. As things progress and I get dialed in better, a bit of high mid/high shelf at times for different songs..
Done. Yeah I could likely have to tweak more later, but..

I want more pre's with eq'!

 

[miroslav]

Yeah I could likely have to tweak more later....:

This is the tricky part.
If you cut/add too much or the wrong stuff during tracking...you then have to try and put it back, take it away or fix it later in the mix.
If something is obviously "bad" during tracking...it needs adjustment, but I don't get too hung up about "shaping" the perfect tone during tracking, instead, I try to find the "mid-point" of the tone I'm generally after...and I leave it there.
That way, I've not overcompensated in either direction during tracking, and I still have most of the tone to work with during mixing.
Most times I just put up my go-to vocal mic and I never mess with EQ during tracking. The mic is multi-patterned, so I can dial it in, but in most cases there's 1-2 positions that I always use.

Of course...each situation may need a different approach....

 

[mixsit]

Yeah I could likely have to tweak more later....:

This is the tricky part.
... If something is obviously "bad" during tracking...it needs adjustment, but I don't get too hung up about "shaping" the perfect tone during tracking, instead, I try to find the "mid-point" of the tone I'm generally after...and I leave it there.
....

Yes, everything you have there are all very valid. And here comes some more prospective.
I'm actually tossing this out here sort of along two lines.

a) The constant 'searching for the right mic threads.




b) Even with the 'let's do mic shoot-outs' approach you still are at the same starting place- in perspective and as far as your best guess vs what happens in the mix.

Don't get me wrong thinking I'm knocking mic selection. If you're looking for that particular something special' and are well up to speed to the variables and context it'll be targeted to, yeah go for it.
Even then each mix may mask in different ways does it not?

 

[miroslav]

b) Even with the 'let's do mic shoot-outs' approach you still are at the same starting place- in perspective and as far as your best guess vs what happens in the mix.

Initially and during the learning/discovery phase...yes.

After a number of sessions/mixes...it's really not as much of a surprise how something is going to sound in the mix.
IOW, sessions no longer require mic shoot outs and a dozen "let's try this" moves. Instead, you go for things you already know will work, and that's not saying "don't experiment", rather there comes a point where you just don't need to experiment with every session/mix.

Likewise...if you have a lot of mics and pres and whatnot...it's not necessary to try and always use something different for every session or track. If you have 2 mics and one pre that always give you the "bread-n-butter"...use them often.