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#201883 02/06/04 01:34 PM
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Hi all-
I have a great sound recording and mixing my
own music- I started out in 92' with a Tascam 4-track cassette workstation-
Currently, I own an Akai DPS12-i digital 12-track.
I have a good idea how to use the parametric EQ- (the frequency adjustments are tricky and the mid has a "width" adjustment")
Is there a pattern to follow to get the right adjustments?
Any books you know that explaine this?
Any Akai owners out there?

The defaults settings are:
low- level @ 12 o'clock low frequency @ all the way left 40 to 150k
Mid- level @ 12 o'clock mid width all the way left Mid- frequency 12 o'clock 200 to 8k
High- level @ 12 o'clock high frequency all the way right. 18k to 500.
I don't expect a college course here on-line,
but the mid-width, and frequency settings can be tricky. Where does one start?

Cal

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What are you trying to accomplish?

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Cal Offline OP
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Truman-
From the factory default settings, I wish to
adjust the EQ's to suit my taste.
The frequency adjustment's are new to me, and wonder where one would start- which part of the spectrum- is there a rule of thumb
as far as adjusting them? Particularly, in relation to the levels. Mid width also.

Thanks,

Cal

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I assume there is a flat position for all the controls. Basically I would start with the controls in the flat position, In effect, no boost, no cut, and adjust from the bass control as I listen and go up the sprectrum from there. Too much boost or too much cut could ruin the final sound. You have to listen as you adjust until it is pleasing to you.


Ray E. Strode
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Cal Offline OP
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Thanks Ray-

The default settings threw me off-
Some are far left, others far right-
I'm not sure those settings are flat?
You are right: to much-boost-definately
ruins the sound-

Cal

P.S.*note* all- I forgot to activate my e-mail alert- so if I don't get back to your responses, right away, please bear with me-

[This message has been edited by Cal (edited 02-07-2004).]

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You may get different responses from other engineers on this one, but I'll give you my take.

For general tweaking of your sound, use a multiband graphic EQ. They are simpler and they work fantastic.

Parametrics--to me, anyway--are more for fixing specific problems.

Say you have a hum, or a noise, in one of your tracks. You can't re-record. So, you can open your parametric, dial up the precise frequency(s) that contain the hum, and pull that frequency right out of the mix. You can make it very narrow, so that you don't affect much of anything except what you WANT to affect. Or, maybe you have already mixed your tracks and now discover that the hi-hat could be a little louder. Again, you can identify the very specific and very narrow frequency that contains the hi-hat, and then you can nudge it up a bit without affecting much else that is on the track.

Recently, I had to mix a track that had a solo organ part at the end. Just organ, and no other instruments. Unfortunately, there was some kind of high-end crackling noise in the track. It sounded like a scratchy potentiometer. The organ player was a half-continent away, so there was no way to re-record the track. But, using a paremetric, I was able to notch out the noise without hardly affecting the sound of the organ. It was a lifesaver.

If I have no real problems in a track or in a mix, I just do not use the para.

Good luck.

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Cal Offline OP
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Truman-
Sounds like good advice.
I'll try leaving the parametric's as they are, on default settings; maybe work from there.

I prefer graphic EQ's- and am more familiar
with them.
I may sell the Akai, and move up to a Yamaha-AW16G- which has XLR mic-inputs/pre-amps, 4 more tracks, and better effects.
The Akai, does do an awesome job recording- and is easy to get around. Could be a great
unit to record the drums with- and an extra 12 tracks.
Thanks again

Cal

[This message has been edited by Cal (edited 02-07-2004).]

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Cal, if you sell the Akai, another option might be to get a computer and use software for your recordings... That way you can get a nice quality board or pre-amp to get your signal into the computer and do all your mixing in the computer... by now software plug ins can do a better job than hardware in most cases... Just a thought...

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Cal Offline OP
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Thanks Paul-

You are correct in regards to the current computer systems, recording and editing (mixing) digital music. Computers are the crux of the recording/entertainment industry. Pro Tools etc..
It can get quite expensive though- to do it right.

I have been using my Boss 660 drum machine and the sequencer on my Roland JV 1000- for first draft arrangements- and record my vocals straight through my mixer to a Tascam duel deck cassette recorder. This give me a pretty good idea of the songs potential- it's quick and is good for copyright versions, and letting friends and studio musicians hear the songs.
I then polish the tunes, record them on my digital workstation, adding the additional instrumentation, and vocals.

I prefer at this time using the smaller home
workstation equipment, because of the expense, and learning curves of the
computer systems. Depending on the publisher or record company, I can submit tunes with this quality of recordings.
It does not compete with a more elaborate computer system, or a pro-studio.

I guess it depends on the song itself, and how much one can invest in time and expense.

When I have the funds (and potentially hit quality songs), I hope to ultimately record my takes in a pro studio.
Analog tape, is a good asset also, in combination with the digital domain.

Cal




[This message has been edited by Cal (edited 02-09-2004).]

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Well, that's definitely a good plan, and as long as it works, hey, that's the important things... [Linked Image] If you ever go the computer route, you don't need to go Pro-Tools... Pro Tools is very over priced, and you get the same quality from Sonar, Cubase or Logic... It's sort of like, you can record quality vocals, but you don't need to use a Neumann Mic... Not that Pro Tools is quality like a Neumann, just pricey... [Linked Image]

------------------
www.soundclick.com/paulradelat

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Cal Offline OP
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I hear ya Paul-

Your comparison pertaining to the mic's, and demo quality is right on-
Also I learned all in all, one should obtain the best recording (demo) that he/she can afford- or have access to, if ones objective is trying to get a cut.
The quality of the home studio gear has become so advanced, (computers and all)it is probable to, being able, to put a product on the air-waves.

I have visited a couple studio's in Nashville TN and met the owners. The average price per song in a 3/4 song block, is about $900 to $1200 per song- they use Music Row musicians, and the quality is like the top country artists tunes you here on the radio, (or pretty close, depending how much $'s, and studio time you need).
These people have publishing, connection capabilities, and know everybody in town- i.e. Buck and Jim, "Buck's Place", in Henderson TN, use Patty Loveless's base player, and grew up with Steve Wariner. They have platinum and gold records on the walls.
I feel the vocal/instrument demo, has it's
place in the pitching end of the industry,
but does have it's weaknesses, and one better have an awesome, "great," hit quality song, and some heavy connections- also the ability to physically hit the streets, and place your stuff directly in the hands of the A&R rep.. Insist (tactfully) they listen to the song while you are there.

I find myself somewhere in the middle, and
would love to record in a magor studio, when am ready.

Thanks again

Cal



[This message has been edited by Cal (edited 02-11-2004).]

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Well, even though you're definitely paying a good price, it sounds like you're getting a great sound for your money... and in the end, if that's what sells your song, you can't beat that... [Linked Image]

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$900 to $1200 per SONG???

Man, that is way too much. I do all my demos in Nashville, at professional studios, using top-notch gear, and first-rate Nashville session players.

I pay about $400 per song. Here's how:

We hire the studio for around $50 per hour.

We hire 5 musicians for a 3-hour session at $150 each (double for the leader).

At 10 AM, we start on the tracks. In 3 hours, we record 5 tracks (once, I got 6).

At around 2PM the first vocalist arrives and we start tracking the vocals. Figure maybe 30 minutes per song, with a break in between. Vocal recording goes into the evening. Figure about $100 per song for the vocalists.

Next day, we mix. That afternoon, I leave with 5 radio-ready demos.

Studio time: $50 x 12 hours= $600
Musicians: $900
Vocals: $500
Misc (CDs etc): $100
Total: $2100
Divided by 5 songs: $425 each

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Cal Offline OP
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Truman-
Thanks for your input.
Does the studio you work with offer demo's of their work? I'd like to hear one.
I also can get demo's for $400 per song-
The price sounds tempting.

The studio's I'm speaking of are the best in Nashville TN- Mainframe is one of them. Dick McVey (producer),works with Moonlight Studio-and does an excellent job- has quite a track record-
When I was at Buck's, Buck was finishing mixing a tune going on the air the next day-
Through my friends who played with Brad Paisley, and Trisha Yearwood- I met a producer who owns a record company in Beverly hills CA., who comes up to Nashville TN, and works with Mainframe- he also had put songs out on the air waves.
This is something one must consider when choosing a studio-


Cal

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I have done demos at Mainframe, and some master recordings, too. It is a humble little studio, in a little house. But Nathan is great, he has great gear, and he does superb work. He is also as honest as the day is long. He just mixed a CD for us.

I recommend him without reservation.

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[QUOTE]Originally posted by Cal:
[B]Thanks Ray-

The default settings threw me off-
Some are far left, others far right-
I'm not sure those settings are flat?
You are right: to much-boost-definately
ruins the sound-

Cal
Isn't that why you hire an engineer?
I've heard it before, "How can you hear that frequency?" The same way y'all hear notes: with training and experience. I hear '440 Hz', y'all hear 'A'. I hear bandwidth ('Q'), y'all hear timbre. We all hear the same things, we just interpret, and deal with, that information in a different manner.
I don't ask you for guitar lessons: please, don't ask me how to mix.

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Cal Offline OP
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hey captain-

I see your down in Nashville-
What studio do you work for?
How long have you been at it- got any demo's
of your mixes?
I'd love to hear one-

I feel the home recording approach has it's high's and low points- is a good way for one to do a lot of work at home- is a great composing tool- and is a plus, if a person has the desire, to learn and and develop his/her skills, knowledge of, and talent in that area-
It can greatly benefit one, to possess those skills.

I will agree that when a person is ready to
"hire" a producer, an engineer, and pay serious studio time, at that point, it is appropriate to let the pro's handle the technical aspects of the recording process.
Although, I would insist, on some flexibility, from the staff- regarding my input, on certain issues.

Cal

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From: Allen Park,
MI
Registered: Dec
2003
posted 02-07-2004 09:38
>> Truman-
From the factory default settings, I wish to adjust the EQ's to suit my taste.The frequency adjustment's are new to me, and wonder where one would start- which part of the spectrum- is there a rule of thumb as far as adjusting them? Particularly, in relation to the levels. Mid width also.<<

This is why there are musicians and engineers/ you hear notes, I hear frequencies. Give me a good parametric, tell me what you want, it's done.

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Record Flat. Then tweek during mixdown. Experiment. The main thing; have fun. Home studios are powerful tools. Learn to use your parametric. It will teach you about frequency more so than a graphic. Don't get me wrong. Graphics are great tools. But parametric EQs can help you learn to use your ears better. Good luck to you.

Kris Karr

http://www.soundclick.com/bands/2/kriskarrmusic.htm
http://www.soundclick.com/bands/8/everywednesdaymusic.htm

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Cal Offline OP
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Thanks Kris-

I have the concept, just not the experience.
I usually physically experiment with all the knobs and buttons- when I get stuck, I then go back to the manual.
Unfortunately, the manual does not cover the
technical aspects of the parametric EQ.
I suppose I can go to the library and hope to find a book on the subject- or look for a book at a major bookstore- or on-line.

Cal

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Cal,

Basically it works somewhat like this from what I understand. Don't quote me. More than likely your low and high EQ sections are what's called "shelving". Say for instance, you increase the lows with a frequency setting of 92Hz. As you increase the gain all the frequencys below 92Hz also increase. The same with the highs only all the frequencys above increase. You can see that smile on your graphic EQ all ready. The mid band is most likely a peak type EQ. This means that as it's gain is raised or lowered, some of the frequencys on either side of it follow the centered frequency causing what looks like a peak. This can be used to add definition to a vocal by increasing it around the 900Hz range, or used to get rid of an acoustic guitars boominess at around 200-300Hz by cutting or rolling off. With a bandwith or "Q", you can also use it to find the most irritating frequencys as well in a track and notch it out. The Highs and Lows are probably much like the ones on your 4 track with the acception that they are variable. Graphic EQs are fixed EQs. While they are easy to adjust, they are not as accurate as a Parametric is in finding an earsplitting frequency. They both serve us well though. When I use a parametric, I move the gain up and sweep the frequency adjustment and listen for the one I'm looking for and the boost it, or cut it depending on the situation. Give it a go.

Take care

Kris Karr

http://www.soundclick.com/bands/2/kriskarrmusic.htm
http://www.soundclick.com/bands/8/everywednesdaymusic.htm

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Cal Offline OP
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Thanks for the support Kris-
You made a good visual with the "smile"
example- regarding the settings on a graphic EQ-
I'll get the feel with more practice.

Cal

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Thought we should move this up for folks. = )


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