Telonics MINI-12, Руководство пользователя

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Telonics TCA-500C Combo Amp
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PB-009289 Rev E
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QUALIZATION
The following information from the great audio engineer John LeMay is an
important and insightful key to achieving well-balanced sound with ideal tone.
How to Be a Tone Master
by John LeMay
This is a collection of thoughts on how to get the best tone you can through what might seem to
be an unconventional way of doing it. This information comes from my years of mixing and
mastering experience in Hollywood.
Subtractive equalization:
The Art of attenuating, rather than boosting, frequencies to achieve
equalization.
When first trying to get "that sound", your tendency may be to push something up. Where you
might feel like you need to add some high end, you may actually just need to cut at 200Hz to
clear the sound up. Then you can add a dB or two at the top end, and it will sound as open as
adding 6dB or 8dB of high-frequency EQ.
Excessive EQ can mask perception of audio nuance and detail. When frequency buildup
becomes extreme — particularly in the upper midrange, where the ear is most sensitive — subtle
space-enhancing details are the first to fall victim to frequency masking and hearing fatigue.
As more additive EQ (boosts as opposed to cuts) gets piled on, the final result is often grating,
tinny, or downright unlistenable at moderate volume. Such an excessive buildup — in addition
to hastening listening fatigue — may smear or obscure subtler aspects you’re playing. The
interaction of compression or reverb in this range further compounds the problem.
EQ should almost always be used as a subtractive device. That means, use it primarily for
lowering certain frequencies in a pre-amp. Every mix or amp sound usually has too much of
something to begin with." Too much bottom end, too many high's, mids are honkin'.
Use EQ to lower those trouble spots. Result . . . Cleaner sound, better sound. Simple, isn't it?
EQ should be subtle - not drastic. Boosting the EQ also has a tendency to raise the noise floor.
In subtractive EQing you are pulling down the level of a given frequency. In additive EQing you
are raising the level of the chosen frequency. For example, say you're in the studio and you have
an acoustic guitar track that sounds too “muddy”. Your first instinct may be to raise the
frequencies around 4kHz to brighten up the sound a bit. But you are better off pulling down the
low-mid frequencies around 325Hz instead!
Here's a simplistic example of how to do it. Say you want more high-end. First bring down the
low end a bit, and then raise the overall (master) gain to compensate for the gain loss. This has
the effect of raising the high end but without increasing noise. Go back and forth between
lowering the bottom end and replacing gain with the master level control till you achieve the tone
you are looking for. Practice this till it becomes second nature. Raising the bottom end is done
in much the same way. First bring down the high end a bit, and then raise the overall (master)
gain to compensate for the gain loss. This effectively raises the bottom end EQ. This requires
careful listening to know how much to cut and how much master gain to compensate with.