Warm Audio EQP-WA Manual Del Usuario página 9

WAXING PHILOSOPHICAL
WHEN TO EQ?
This is a question that deserves thought. In some cases, EQ can be intuitive. One of the simplest examples of corrective EQ
would be in treating the human voice; adding top end to a vocal that needs articulation, or adding bottom end to a vocal
that appears thin. In all cases, one should listen thoughtfully and let the material tell you what it needs. Ultimately, one should
EQ when a signal requires help to fit naturally and compliment a mix.
Most musicians and artists would say they want their voice or instrument to sound as natural as
possible; however, there are many acoustic factors which can affect one's perception of how
an event sounds. What most artists and engineers desire is for an instrument to sound natural or,
in an idealized way, closer to the artist's intention. Most artists expect their recorded material to
perform well in the context of a mix without covering other performers or getting covered up.
Using an outboard equalizer should typically be viewed as much of a way to make corrective
changes as it is to make creative changes. The reason for this is that microphone placement,
room acoustics, the settings of the instrument or amp, and a whole host of other variables are
always applying their own unique type of EQ to a signal, some of which may be outside of
your control and undesirable.
As a general rule, one should do most EQ after applying compression; though there are
exceptions, such as taming a problem frequency in advance of a compressor to allow the
compressor to respond more naturally. In this situation, one might consider subtractive EQ
prior to compression, and additive EQ post-compression. The most notable exception to this
rule is in stereo mastering, where EQ should precede final compression and limiting, to prevent
any chance of peak overages.
TIPS ON USING YOUR EQP-WA
The EQP-WA is a program equalizer by design, which means, though quite capable on individual
instruments, it especially shines on complex, full bandwidth material; i.e. complete mixes or
instrument groups. It is especially good with providing a final tone balance and adjusting the
relationship of the midrange to the low and high frequency bands in finished material. As with
all equalization, listen for what the source material calls for, and reference back to the original
(unaltered) source often to maintain perspective.
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