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Articles Tagged Eq

  • Thursday, December 03, 2015
    Bobby Owsinski 12/03/15 07:29 AM,
    This article is provided by Bobby Owsinski.   I’ve been asked by a few people how I would go about getting a bass sound, since I’ve mentioned before that I’d approach things differently. Actually, the sound of the bass isn’t as important as the relationship it has with the kick and snare drums, since they all reinforce one another if blended correctly. Here’s my approach, assuming that both the bass and the drums are recorded well and sound pretty good… View this story
    Filed in: RecordingFeatureBlogProductionAudioAnalogEducationMixerProcessorSignalStudioSystem

  • Wednesday, October 21, 2015
    Dave Rat 10/21/15 12:54 PM,
    Mixing front of house sound for festivals is both one of the easiest and most challenging situations we face as live sound engineers. They present a perfect storm of all factors working against us: minimal setup and sound check time, huge audiences, pressures from band management, outdoor environmental factors, plus show reviewers can make direct comparisons between the quality of our mix and a multitude of others. To make things worse, unless we work for a top-billed artist on the… View this story
    Filed in: Live SoundFeatureProductionAudioConsolesDigitalInstallationLoudspeakerMixerMonitoringSignalSound ReinforcementSystem

  • Monday, September 21, 2015
    PSW Staff 09/21/15 06:35 AM,
    Over the past 15 years, F. Reid Shippen has mixed 10 Grammy Award-winning projects with Kenny Chesney, Jewel, Matthew West, Keith Urban, Jonny Lang, Ingrid Michaelson, and the London Symphony Orchestra. Regardless of the genre, he relies on his Manley Massive Passive two-channel, four-band passive equalizer. “The Massive Passive is capable of doing a wide range of stuff, from things that are really subtle to some pretty hardcore music,” Shippen explains. “As a mix EQ, it’s everything that you want… View this story
    Filed in: RecordingNewsAnalogEngineerProcessorStudio

  • Tuesday, July 28, 2015
    PSW Staff 07/28/15 08:09 AM,
    With multiple awards and more than ninety-seven million albums sold, producer Michael Wagener is best known for metal recordings since the 1980s from Ozzy Osborne, Mötley Crüe, Metallica, and Dokken to Skid Row, W.A.S.P., Poison, Great White, Megadeth, and more. One of the key elements behind nearly all of Wagener’s heavy mixes is Manley Labs’ Massive Passive EQ. Wagener eschews adding EQ to individual instruments while recording, preferring to get the sounds he’s after during the tracking phase. “I generally… View this story
    Filed in: RecordingNewsEngineerManufacturerProcessorSignalStudio

  • Thursday, July 16, 2015
    Chris Huff 07/16/15 07:01 AM,
    This article is provided by Behind The Mixer.   Churches aren’t packed with angelic voices, at least from an audio engineer’s perspective. Instead, there’s a variety of vocal talent; from the first-timer to the experienced singer and if one’s lucky, a trained singer. But the real problem isn’t the talent level, it’s what they’re tasked to do. A common production phrase says the quality of the mix depends on the quality of sound coming from the stage. It’s for this… View this story
    Filed in: Church SoundFeatureNewsStudy HallEngineerMixerProcessorSound ReinforcementStage

  • Tuesday, July 07, 2015
    PSW Staff 07/07/15 06:37 AM,
    In the four years Chris Mitchell has acted as front of house engineer for Umphrey’s McGee, he has mixed over 480 shows that are all available for purchase and review online. Over the past two years, Mitchell has been working to remove corrective EQ from his front of house mix with the help of Earthworks microphones.  Mitchell first heard of Earthworks microphones when the company was first founded 20 years ago. “I was a big fan of David Blackmer… View this story
    Filed in: Live SoundRecordingNewsConcertEngineerManufacturerMicrophoneMonitoringProcessorSound ReinforcementStage

  • Friday, June 26, 2015
    Jack Alexander 06/26/15 07:24 AM,
    If one follows the literature (and street talk) in both the audiophile and professional sound communities, “equalization” is a very bad thing. If you use it, you get, in no particular order, comb filtering, phase shift, lack of transparency, non-linear response, one note bass, harshness, mid-fi sound, lack of neutrality, proof of your status as an amateurish guitar-store soundman, as well as proof of your status (from the audiophile perspective) as a deaf knuckle-dragging roadie. Standing on Mars, as they… View this story
    Filed in: Live SoundFeaturePollEducationEngineerMonitoringProcessorSound Reinforcement

  • Thursday, June 25, 2015
    PSW Staff 06/25/15 08:59 AM,
    iZotope has released its new RX Final Mix real-time plug-in. Part of the award-winning RX family of post-production tools, RX Final Mix helps audio post-production and broadcast professionals create balanced mixes that are impactful yet True Peak compliant. Built specifically for post production with support from mono to 7.1 surround, RX Final Mix enables editors and mixers to maintain the optimum balance between sonic elements when creating deliverables such as mix “stems” (for example, when a music and effects mix… View this story
    Filed in: RecordingNewsProductDigitalDigital Audio WorkstationsManufacturerProcessorSoftwareStudio

  • Monday, June 22, 2015
    PSW Staff 06/22/15 07:55 AM,
    The new Lake Controller v6.4 software program from Lab.gruppen, introduces a number of significant features to enable faster and more accurate optimization of complex, large-scale sound reinforcement systems.  Specifically, according to Lab.gruppen product manager Martin Andersson, v6.4 adds a new dimension to preset and EQ handling with the introduction of Recallable EQ Overlays. “With this new feature, users can store and recall individual EQ overlays to modules and groups in Lake Controller,” Andersson explains. “Now any given speaker preset can… View this story
    Filed in: Live SoundNewsProductAmplifierAVDigitalManufacturerProcessorRemoteSound Reinforcement

  • Friday, June 12, 2015
    PSW Staff 06/12/15 12:05 PM,
    The new BAE Audio B15 multi-band equalizer, which ships this month and is priced at $1,000, is designed to deliver sonic attributes of the 312 circuit in an economically efficient and compact 500 series package. The new B15 EQ is an all-discrete design, outfitted with three bands with five (5) selectable frequencies per band. Created to BAE Audio’s discriminating vintage specifications, the build includes Jensen transformers at the input ande output stage, Elma gold plated rotary switches, and a 15-way… View this story
    Filed in: RecordingNewsAnalogConsolesManufacturerProcessorSignalStudio

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