Mic's as EQ's
Basically we were displayed a diagram of the polarity pattern of a microphone (namely a SM57). The diagram stated that pick up pattern on dynamic microphones had its greatest effect for full range pick up at the tip (the 180%) point. Therefor each shift in the mic would result in a percentage of low end roll off. In the event that you set up mic facing the opposite direction of your objective there would be 100 db difference in the pick effectively soaking up more high and less low. This was discussed as a viable way of recording snares.
EQ 'n' By Octaves (a brief synopsis of key points)
To set up a template that we could apply this concept too we record a short expert with drums, bass, piano and vocals.
Bass RE20
Snare Sm57
OHL 4050
OHR 4050
Piano 414
Bass Millinia
Vocals 414 (through Distress-ors)
Input: 4.5
Attack: 2.5
Release: 3.5
Output: 5.5
Once we were done recording we experimented with various eq'n' variations these were the results:
50 Hz ~ An increase at this adds fullness to the bass drum & bass while a deduction takes out the boom'e'ness of the bass
100 Hz ~ increasing in this range gives a harder sound (more punch on the end)
and adds body to a snare. Decreasing the bass down here gives room
for kick to stand out. This range is also used to add fulness and reduce
boom'e'ness.
200 Hz ~ adds fulness to vocals because it deals with the fundamental. However, in the it kills the attack. Removing db's in this area takes out the gong on cymbals and removes muddiness in vocals.
400 Hz ~ increasing this range on the bass adds clarity while removing this range on snare removes ambiance
note: shifting the shelf dimensions in the 500 Hz arena creates a telephone effect.
lastly we talked about:
1.5 kHz ~ it was displayed that complimentary chords were brought out when this range was increased. It was also said that a reduction here removes the cheap sound of cheap guitars.
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