Church Production Magazine: Most of us are used to reaching for the EQ as soon as we notice something we don't like or something we feel that we need to add. If we can't get the job done with the built-in EQ on the channel strip we can even insert a 10-band EQ on top of that to get more surgical. We essentially have endless ways to carve out the sound we are after. I've walked up to consoles and seen engineers have two EQ's inserted on a channel, that then goes to a group that has an EQ inserted on the group. At some point you begin to work against yourself and you are just lowering (or raising) overall gain.
1 comment:
This is such a great article that is super relevant with all the microphones set up for virtual or remote work. I've been struggling to get the right sound on my own mic while still keeping it out of my webcam shot. Fun fact: its really really hard! When I accidentally get close to the mic, I realize how much better my sound could be, but unfortunately that blocks my face! At the end of the day though, I'm using EQ to solve a mic placement problem. In the theatre world, sometimes we don't get a choice where a mic gets placed. I remember talking to the A1 for Violet on broadway, and she had may problems with the hats that the performers would wear to the point where they inserted special mics in the hats to get the right placement. I remember working on a production of Beauty and the Beast, we had to embed a mic into Chip's cart instead of an earset or wigset mic. It's important to remember, regardless of dicipline, what tools we have at our disposal and how to use them. So often we get caught up with the technology we have that we neglect the simple solution, such as "move a little closer to the mic".
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