Behringer SRC2000 Uživatelský manuál stáhnout pdf (Strana 22)

EURORACK MX1804X

5. TECHNICAL BACKGROUND

5.1 Mixing

5.1.1 Equalization

Few people buying a mixer will need to be told how an equalizer works. But how to get the best out of it? Well,

that’s another story.

In the beginning EQ was an instrument for removing unwanted frequencies, or compensating for imperfect

microphone response curves, or bumps in a studio’s acoustic. It was a corrective device. Tamla Motown turned

that notion upside down in the sixties with the novel idea that you try to find for each instrument a characteristic

frequency not shared by the other instruments in the mix. Then you whack up its gain. This makes individual

voices punch through a mix in a slightly unnatural but exciting way.

In general corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of

unwanted resonances. The narrower the notch or “Q”, the less the total signal will be affected.

Finding bad resonances is made easier by first frequency sweeping in BOOST mode.

“Motown” EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more musical but

less instrument-specific the effect. Applying boost over a narrow bandwidth will sound “honky”. For sounds which

require drastic corrective EQ, it is advisable to have a couple of channels of fully comprehensive Parametric Equalization

in your rack. (You can always bounce tracks though the outboard EQ, freeing up the unit for the next task).

Check out the BEHRINGER ULTRA-CURVE PRO DSP8024, a superlative digital stereo equalizer and much,

much more. Or our ULTRA-Q PRO PEQ2200 5-band constant-Q state-variable analog EQ.

For “advanced equalization”, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to

achieve the required slope or “loudness”. Now use a parametric EQ band to boost the most significant frequency

for each instrument or tape track. Over all channels, if two or more of these frequencies coincide, then you

might have to settle for second best in some cases, if you want to achieve optimum separation in the mix.

Really nasty frequencies will need notching out.

A good vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher, above the

nasty sibilance region. This is especially effective if you’ve got a de-esser patched post-EQ.

+ Use the low-cut to tighten up channels in a mix: maybe remove it only for the bass, kick drum,

toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music ignore

this advice).

With the LF set to boost, and the low-cut switch activated, you have pretty much got a peak response rather

than shelving at the bottom. Good for tight but deep bass.

Remember EQ contouring can be done with cut as well as with boost. Cutting away the top and bottom, then

pushing up the gain is equivalent to mid range boost! EQ is not a one way street!

Always re set a channel’s input gain (or external devices’ output level) after altering the amount of desk EQ cut

or boost applied.

5.1.2 Gain optimization

PFL (Pre-Fader-Listen) is the way to set a desk level. Master aux send levels are fixed at unity gain. As the mix

progresses, more and more channels are likely to be sending to effects via the aux buses, and it’s best to PFL

all sends just before setting up for the final mix.

Outboard reverbs etc. should all be made to work hard. There’s no point in having an 85 dB dynamic range if the

input meter of your reverb is barely flickering. On the other hand, digital distortion is not one of the nicer noises

around. You’ll have to rely on your ears to detect digital distortion, since different outboard processors calibrate

their meters differently.

If you hear distortion, turn down the input on the FX unit, and turn up the desk’s aux return input.

99 times out of 100 distortion in the aux send > FX > aux return loop will come from the FX unit (FX gain too

high), and the same goes for a high noise level (FX gain too low).

5. TECHNICAL BACKGROUND

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