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Post by Johnkenn on Feb 22, 2023 16:59:04 GMT -6
I usually just handle this after the fact…but it would be nice to be able to commit to eq decisions with the hardware on the fly. The issue is trying to do this with headphones that aren’t entirely trustable. I guess I could bring up the volume enough to listen through the monitors while they’re running through to get it nailed down…but wondered how people deal with it in other ways.
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Post by tkaitkai on Feb 22, 2023 17:05:31 GMT -6
I usually just record a few test passes with and without EQ, A/B on monitors, and then roll with whatever sounds better.
Usually not a big deal if you cut a little too much low end or boost too much top — as long the mic/room/talent are good, you can dial it back after (unless you went WAY overboard).
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Post by Tbone81 on Feb 22, 2023 17:18:19 GMT -6
That's one of the reasons I rarely use EQ when tracking, I'm often working in one room spots. I just keep it simple, maybe a little hpf, or low/high shelf. I'm not doing anything surgical, just some light, broad sweeps. Really I'm using the EQ more as tone controls, like you would on a guitar amp, rather then trying to sculpt some specific sound. Then maybe record 30 seconds, do a quit a/b test and I'm off to the races.
I figure if something really needs to be "corrected" with EQ than I'm probably using the wrong mic, instrument, preamp etc etc.
Another option, for specific tracks, is to mult the track off your patchbay and have one half recorded dry, the other recorded with compression/eq. That way you have a safety. That's saved my ass a few times.
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Post by eyebytwomuchgeer on Feb 22, 2023 18:29:02 GMT -6
I'm only doing drums, but still just in a single room. I've been learning over time some of the basic moves for my particular setup and room, but in general, I've been doing a single clean pass of a tune, just right into the preamps. It helps me get a bit in the zone. Then I take a listen and make some plugin EQ moves with ProQ3 or something like that. I've been keeping track of those moves, then I make similar frequency moves on my hardware, but at like 30-50% of the dB. I'm using headphones and monitors, and trying to focus mainly on low-mids and midrange moves, and maybe some snare stuff above that. The combo of hearing the changes along with hearing my drums in the room along with seeing it physically in ProQ helps me a lot to sort of triangulate and calibrate my ears. What does 10dB of ~200hZ actually sound like on this snare drum, on that track, in my room? Oh, thats great but too beefy in this mix....lets only boost it 2dB going in.....etc. I patch everything in, remove the plugins, take a few more passes, and listen back again. Its been helping me learn some common moves. It also has been showing me when I get too aggressive on the way in.
I practice recording along to drumless loops of all sorts of tunes to also reinforce the EQ and compression moves in the context of a track, as a lot of times, I'm finding that "problems" dissapear in the mix, but other things that sound great in the drum track just don't fly once there is all that other non-drum nonsense to cloud the picture.
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Post by craigmorris74 on Feb 22, 2023 18:42:14 GMT -6
I do one of two things. I always start with some EQ based on what I’ve done in the past. Then I’ll record a bit listen back over the monitors. Based on what I hear, I’ll adjust the the EQ to suit my needs. Might take two or three tries to get right, by once you’re there it’s done.
Another thing I’ll do is when listening back to a bit I’ve recorded, I’ll throw a plugin on with similar curves, adjust it until it sounds good, then adjust the EQ in the recording chain to match the plug.
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Post by notneeson on Feb 22, 2023 20:41:08 GMT -6
I don't know if they would be your cup of tea, but this is why I love using my Senn HD650s. I find I can make good moves on them that I won't regret later.
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Post by jeremygillespie on Feb 22, 2023 21:24:24 GMT -6
Lay down a flat track, while listening back hardware insert eq or comp, mess with settings to desired enjoyment. Put gear inline and start tracking.
I’ve got to deal with this with drums when I’m at home - currently only have one room and I hate not getting a “vibe direction” when tracking drums. Changes the way I play so I really lean on that while tracking. Takes a little bit of extra time to get going but well worth the effort in the long run.
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ericn
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Post by ericn on Feb 23, 2023 8:15:47 GMT -6
The secret is patience and time, lots of starts and stops so you can listen back through the monitors. The live guy trick is to find a pair of closed back headphones you can learn to work with ( house of lots of MDR7506’s).
It’s also about having what you need handy, both a tone shaping EQ ( API, Neve 10 series) and problem solver ( SSL, Neve Prism) and knowing what to grab to get it right, even if it means using both.
Of course the easiest trap to fall into in this situation is to start EQ’ing before the vocalist warms up, having them do a quick run through where your just listening and taking notes can serve as both a warm up and note taking, then do some EQing with some short takes.
The other thing from the world of live, lots of singers who need different EQ in their ears than what you want on the track, splitting the signal is your friend.
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Post by javamad on Feb 23, 2023 8:18:05 GMT -6
I have a single room space and I decided to embrace it and spend $$ on good pres and mics but skip eq on the way in.
For drums, as I have the kit set up and the mics in place I do have some eq settings on the API Console emulation in Luna that we are hearing in monitoring mode and I find that gets the drummer going and feeling like they are laying down a record.
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Post by mcirish on Feb 23, 2023 8:56:36 GMT -6
I have a one room studio and for the most part like it a lot. There is a direct connect with the artist. The most they could ever be is 20' from me so we can communicate very well. Because of that, I never EQ anything on the way in to the computer. I don't want to make a mistake on EQ that early. I do compress on the way in, but I never completely slam the 1176 or LA2A. Just maybe 4-5dB peak compression. That process has been working great for me.
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Post by Quint on Feb 23, 2023 11:28:09 GMT -6
I have a single room space and I decided to embrace it and spend $$ on good pres and mics but skip eq on the way in. For drums, as I have the kit set up and the mics in place I do have some eq settings on the API Console emulation in Luna that we are hearing in monitoring mode and I find that gets the drummer going and feeling like they are laying down a record. Same here. That's one of the things that really appealed to me about Luna. The ability to use the same API strip for recording, and then on playback, without having to do anything else beyond the initial setup on the API. Plus, this can all happen without any of said API eq being committed sort of is the best of both worlds. You can be working towards the final sound from the outset, but you haven't committed anything yet. |
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Post by anders on Feb 24, 2023 2:52:34 GMT -6
They aren't perfect, but the Beyerdynamic drummers' headphones have like 35 dB separation and can get you in the ballpark apart maybe from the lowest bass, where it is easy to be fooled by the physical thump and trouser flapping in the room.
But in combination with frequent "roll tape - listen - adjust" and increased familiarity with the sound of these cans, you could do worse, in my experience.
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