Tascam M-300 Series, Operation & Maintenance Manual

Page: 47 / 167

HOW TO USE THE EQUALIZER (EQ) SECTION ON THE 300 MIXER
Equalization can be used to alter the tonality
of a signal. Unfortunately, the same ability to
favorably change one signal may result in an
unfavorable alteration in another. When using
EO, care must always be taken to not "over·
do it". While we can describe the mechanics of
the EO section found on the 300 Series, we
cannot
offer specific control settings for achiev·
ing the "best" results. Our idea of what sounds
best may not be the same as yours, so once
again, we will only describe the science or
objective portion. The subjective portion of the
art of applying this knowledge properly must
remain the responsibility of the person per·
forming the mix.
The EO section found in the 300 Series is a
three band semi-parametric or sweep-type de·
sign with a shelving type high frequency portion.
Both the low frequency and midrange portions
have two controls each. One control determines
the center frequency of the affected band while
the second control determines the amount of
boost or cut applied to the band. The frequency
ranges are as follows: low frequency, 50 Hz·
1 kHz; midrange, 200 Hz · 3 kHz. Both offer
1 5 dB boost or cut. The high frequency circuit is
fixed at 1 0 kHz with 12 dB of boost or cut.
When mixing an input signal, the first decision
regarding equalization is wether any EO is need·
ed. If not, you can bypass the unused electronics
by releasing the E O ON switch.
If EO is desired, begin by determining which
band requires alteration. Sometimes more
than one portion of a single signal requires
changing: thus, it is possible to boost or cut all
three sections ofthe equalizer. Usually, however,
only one band wi l l need to be adjusted. Keep
in mind, there are two ways to alter the tonality
of a signal using EO. One is to adjust the specific
controls which affect the desired frequency
range. The second way involves making the
opposite adjustment to the other portions of the
signal. For example, if a vocal signal is a little
too bass heavy or "boomy", one way to correct
the problem is to reduce the low frequency con·
tent. This is the direct method. The second
method provides the same end result but is in·
direct . . . by increasing the amount of mid and
high frequency signal content, the "boominess"
may come in handy on those occasions where
the direct approach doesn't yield the desired
44
results.
Once you have determined that 1
I
the signal
does
require EO, and 2) the proper frequency range
has been identified, the final steps involve
turning the proper controls. Sounds simple,
doesn't it? But if the proper range is either low
or mid range, there are two controls to adjust,
so
how will you adjust the F REQUENCY
control correctly? The technique is actually
rather simple: first, adjust the GAIN control of
the band so there is an exagerated amount of
boost or cut, then, slowly sweep the F R E·
QUENCY control through its entire range. As
the control is turned, you will hear the change
in the signal's content. When the desired fre·
quency is isolated, set the GAIN control to the
necessary amount of boost or cut required
for the desired change. Whenever possible,
avoid making these changes during an actual
performance or recording. The sweeping action
can create an undesired effect.
The illustration shows how different instruments
will
be
affected by changes in EO settings, and
indicates how some instruments will be un·
affected by changes in one EO band. Cymbals
and flutes, for instance, would not be altered
much by changes in the low frequency section,
especially if the F R EQUENCY control was set
below the 12 o'clock position. This is because
these instruments have very little signal content
in this range. On the other hand, the sweep
capability allows you to boost or cut specific
parts of signals or instruments without altering
the sound of other signals. On drums, for
instance, the kick or bass drum can be brought
out by carefully turning the low frequency
section of the EO, thus al lowing the one drum
to sound more prominent than the rest. The
same technique can be used on vocals or any
multiple mix of signals, as long as the various
components operate normally in slightly dif·
ferent frequency ranges.
As with all other aspects of mixing audio, ex­
perience will help you learn the capabilities
and limits of the EQUALIZER. No amount of
tonal change can, for example, correct instru­
ments which are out of tune or signals which
are distorted.