Drawmer 1974, Руководство оператора

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10
DRAWMER 1974 O
PERATOR’S
M
ANUA
L
1974 PARAMETRIC EQUALISER TIPS
The following are a few handy tips to help get the most out of the 1974:
Narrow Cut / Wide Boost
The classic method for equalisation is to use a narrow bandwidth when removing/cutting problematic sounds and a broad
bandwidth is used when tonal shaping.
A narrow bandwidth is used to remove unwanted frequency noise (see ‘Sweep it Up’ below), in addition, when the 1974 is
being used in boost mode, it can also be used to emphasize specific instruments with a narrow frequency range such as the
hit of bass drums or hi-hats, for example, but care must be taken not to use so much Boost so as to create an unnatural honky
or peaky sound - unless this is the intention!
Medium to wide bandwidth settings, combined with modest degrees of Boost and Cut, produce the most musical results and
are best used for tonally shaping the sound. Be careful not to suck out too much of the signal and make it sound hollow. Note
that if large amounts of Boost are applied using one or more equaliser sections, there is a possibility that the signal will be
amplified to a point where there is a danger of clipping. If this occurs, monitor the output O/L led and adjust the Input gain
accordingly.
Sweep it Up
If you are finding it difficult to identify which are problematic frequencies in your recordings the sweeping technique can help
to locate them. Setting up is best approached, initially, by switching in one eq band at a time.
1. Start by reducing the bandwidth of one of the bands, creating a narrow peak.
2. Add a high amount of boost to this band.
3. Using the frequency control slowly sweep through the frequencies within that band listening for a sudden increase in
volume - this is the problem frequency.
4. Reset the gain and bandwidth and cut (attenuate) the frequency to taste.
You may find it useful to do this technique for all four bands on any given recording.
Cut it Out
A great way to improve your audio so that instruments sit better in the mix is by removing any unnecessary frequencies using
the Low Cut and High Cut filters. The 1974 is the perfect tool for this because it has fully variable low and high cut filters and
also variable slope, allowing you to tune in to precise frequencies. The low end of your mix will be dominated by instruments
such as the kick drum and bass guitar so any other noise at around 100Hz and below only go towards muddying the mix and
add unnecessary level, giving you less headroom. To remove any rumble and unwanted low end artifacts on any given track
sweep the low cut filter until you notice the sound getting thinner and then back it off a little, you can then set the slope to taste.
The same technique can be used for the High Cut, if you back off the filter when the sound becomes bassier it will allow any
other instrument with high frequency content to cut through the mix better. The idea is to remove extraneous sound from a track
whilst retaining the fundamentals.
The slope switch settings of 6, 9 & 12dB's per octave of the 1974 have been chosen to retain a transparent, musical quality to
the audio whilst still attenuating the signal, rather than a steeper, brick wall filter which would be very noticeable. Set your low
and high cut filters to the desired frequency and then switch through the slope settings to see which works best for that
particular instrument/track.
The Peak setting is quite a unique feature to the 1974, that is especially useful on kick drums. It works by adding a narrow bell
shaped boost to the 12dB per octave low cut filter at the knee frequency just before it rolls off. It'll magnify and give extra weight
to the hit of the kick drum whilst still filtering out any subsonic junk and without muddying the lower mid, giving your kick an
added sense of power and precision.
EQ in the Mix
It's OK to EQ in solo when you are trying to find problematic frequencies when setting up a track, if you are using the low and
high cut filters to remove unwanted rubble and hiss for example, however, in general, its better to EQ individual tracks within
the contents of the mix. No one else will ever listen to the tracks of your mix in isolation so why eq them in solo. When you EQ
within the mix it helps you to make informed decisions about where the mix needs to be improved, how all the instruments find
space, whether there is muddyness etc. that will not be heard with individual tracks.
If you struggle to hear the subtle changes on a track when you EQ within the mix, rather than soloing raise the level of the entire
track a little so that it stands out. Make the alterations and then return it to the original level.
Deep Space
The 1974 is great for achieving space and depth within a mix. By boosting the mid and high frequencies you bring them
forward in the mix and accentuate the stereo width that may be present. Cutting the same frequencies will make them seem
more distant and further back in the mix. The effect on the low frequencies is different however, boosting these will give warmth
and fullness to the mix, whilst cutting them will make the audio sound thinner and less powerful.