By Jason Johnston
It is so tempting. Those fancy little knobs or virtual sliders where you can dial up a little more high or low frequency, maybe scoop out the mid or try to get a little more life out of that vocal sound. But, there may be some actions to do BEFORE you reach for that Equalizer (EQ). So, use some restraint and think through this list to see if these questions apply:
the UAD Cambridge EQ
1. Is it the Right Microphone?
If you find yourself immediately adjusting the EQ to get a little more "presence" out of the microphone, maybe it's not the right mic for the job. You can't boost something that is not there. And if it is there in just a smaller amount, you will also be boosting the noise with it. If you have some other mics you can try, take a couple minutes and do it. It always serves you to know your microphones - read the manual, study the frequency response graph that came with them or look them up online.
2. Is it the Proper Mic Placement?
The distance of the microphone from the source you are recording can make an enormous difference in the frequencies. For instance, have a cardioid microphone really close the source will boost the proximity effect, creating a much boomier lower end (also called the James Earl Jones effect...). Putting the microphone further away will thin out the sound. This can be effective when recording backup vocalist or other instruments that will not be front-and-center.
When it comes to recording acoustic guitars a mic in the wrong place will make it sound dull and lifeless and in the right place will make the sound come alive. Trust me - you don't want to be trying to create sonic life out of a lifeless track with EQ! It will be like beating a dead horse.
When recording drums, mic placement is king. Even a good mic in the wrong place will have you fumbling to your EQ for more thud, snap, crack or sparkle. I know the band is waiting. Just tell them that perfection takes time and find those proper placements for the drum mics to get the sound you want.
3. Do I need to Change the Strings, the Drum Heads, the Picks, get a setup etc.?
If you are trying to capture a sound and make it sound better than the instrument does in real life you will have a difficult time of it. Many instruments have "consumables" that wear out over time. I often instruct acoustic guitar players to change their strings a few days before, play a little bit to let them get worked in (so they will stay in tune) but not too much to smack the life out of them again. New strings on a guitar might sound a little bright to your ears, but tend to record very well. A proper guitar setup with a trusted (and timely) guitar tech is usually a good choice before an important recording.
In a similar way, Drums have heads that need to be replaced depending on use, especially when it comes to the kick batter head and the snare head. If you are looking for that "smack" try tuning and mic placement first, but if the head looks like the original that came with kit in the 60's you might have just found your problem.
4. Is the Cable the Culprit?
Signals sent from a microphone or guitar cabinet are converted into low level electrical impulses and sent through cables first before going to your recording device. If it is sounding lifeless, the cable could the culprit. Either because they are low quality to begin with, or because of wear and tear, the signal may not be getting through as cleanly as it should.
Do this test sometime: Go out and buy one high end cable like the Monster Pro 1000. Put your pile of old cables on the floor. Setup your best microphone and record something like a voice or guitar in the same piston strumming the same chord over and over using a different cable each time. You'll be amazed at the sonic and volume difference you will come up with.
5. Is it the Room?
If you are using a microphone, think about the room in which you are recording. Your microphone will not only pick up the source but the room the source is resonating in. This is especially true of louder sounds and instruments. If the vocalist is sounding a little dull and lifeless on the top end, and you know you have the right mic and placement for the job, maybe your room is too absorbent in the high frequencies? You can remedy this by replacing some of the absorbent material with hard surfaces to make the room brighter. I heard of one studio hanging old CD's in their vocal booth to help reflect a few of the high frequency sounds. Use your imagination but think about the room you are recording in.
Okay, you can use your EQ now....
When you need to use the EQ: 1. Use it sparingly at first.; 2. Cut first, boost second. 3. Use your ears not just your eyes. You've heard the phrase "We'll fix it in the mix." Well I like this idea much better: "Let's do it right the first time." Think about what you are recording, where you are recording, and the method or tools of recording it first before reaching for that EQ.
Jason Johnston is the leader of the Revolution, musician and part-time professor of Music Technology at Sheridan Arts College.
