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Articles Tagged Eq

  • Tuesday, April 26, 2016
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    PSW Staff 04/26/16 09:58 AM,
    SynAudCon is presenting OptEQ “Equalization Demystified” June 4-6, 2016 - InfoComm, Las Vegas NV System equalization need not be complicated. It just needs to be done in the right order and with the right tools. OptEQ is a comprehensive approach to sound system tuning that combines contemporary and legacy design and equalization practices into a logical, accurate, repeatable process. Visit this link and watch the 2-minute video to learn more. Approved for 24 RUs. This seminar is only offered once… View this story
    Filed in: AVNewsAVEngineerInstallationProcessorSound Reinforcement

  • Monday, April 25, 2016
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    John Mills 04/25/16 12:45 PM,
    What Is It? A high pass filter, or HPF, is exactly as it sounds.  It is a filter we can use on our soundboards that ONLY allows the higher frequencies pass. It is sometimes referred to as a Low Cut filter for a similar reason. It is also the most overlooked tool in the sound engineer’s arsenal. Where It’s Found. Some soundboards only have a High Pass Switch which is fixed at a certain frequency, often 80Hz or 100Hz.  This… View this story
    Filed in: Live SoundFeatureBlogStudy HallAmplifierAnalogConsolesDigitalEducationEngineerProcessorSoftwareSound Reinforcement

  • recording
    Joe Gilder 04/25/16 05:37 AM,
    This article is provided by Home Studio Corner.   EQ-ing Without Listening First. Are you guilty of this? Come on, be honest. Have you ever opened up a mix and started slapping EQs on every channel and twisting away at the knobs? It’s okay, I’ve done it, too. Do you know why this is a bad idea? Last night I was working on a mix, and the ol’ temptation to throw a bunch of plugins by default came a-calling. I… View this story
    Filed in: RecordingFeatureProductionAudioDigital Audio WorkstationsProcessorSoftwareStudio

  • Wednesday, April 13, 2016
    prosoundweb
    Dave Rat 04/13/16 11:15 AM,
    Ideas are magnetic and when a useful concept gains popularity, minds will refine and push the limits of innovation, often to the point of absurdity and well past the point of diminishing returns. Meanwhile as a technological feeding frenzy progresses, there are often gaps between productive practices and comprehensive solutions. These gaps are what I find especially interesting to explore and solve. Take a moment and picture the scenario of overseeing a nightly posh dinner banquet. Each day setting up… View this story
    Filed in: Live SoundFeatureBlogStudy HallConcertEngineerLoudspeakerMeasurementProcessorSoftwareSound Reinforcement

  • Thursday, March 24, 2016
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    Chris Huff 03/24/16 05:43 AM,
    This article is provided by Behind The Mixer.   Many a new bass player starts with thumping out the notes in the chords of a song. They are mixed then as low-end filler.  As they progress in their skill as a bassist, are you still mixing them as an afterthought?  Sitting in the sanctuary, I watched the worship band practice. Most everyone sounded great.  And then there was the bassist. He was playing the triad notes of the chords in… View this story
    Filed in: Church SoundFeatureStudy HallAnalogConsolesDigitalMixerProcessor

  • Tuesday, March 08, 2016
    studio
    PSW Staff 03/08/16 08:36 AM,
    A-Designs Audio has announced the immediate availability of the HAMMER 2, a new version of the original HM2EQ HAMMER three-band, dual-mono tube/hybrid equalizer for studio applications “Although the original HAMMER has certainly developed a very loyal fan base over the past eight years, we’ve been asking our customers if there were ways that it could be made even better,” says A-Designs president Peter Montessi. “Based on the input we got back, we’ve extended the frequencies on the new HAMMER 2,… View this story
    Filed in: Live SoundRecordingNewsProductAnalogProcessorSignalStudio

  • Thursday, December 03, 2015
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    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
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    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
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    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
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    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



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