"MiNE 109" wrote in message


In article ,
"Arny Krueger" wrote:

Thanks for tacitly admitting that they are often on. However,
they're not the only eq in the audio production chain, so their
status is not critical to my argument.

Eq is appropriate to audio production.

It's appropriate to audio of many more flavors than just production.

However, it is not a requirement: there are good recordings without eq.

That's open to interpretation. AFAIK there are no sonically transparent
microphones. In fact, there isn't even much more than a foggy idea of what
sonically transprent microphone would do.

In audio production microphones are routinely chosen to get a certain
desired kind of coloration. It is well-known that with few exceptions
microphones used in audio production are audibly non-flat, even on-axis.
Bottom line, equalization by means of microphone colorations remains an
irreducible component of audio production.

The good news is that in the mainstream, we got rid of coloration by means
of vinyl record production.


Sound guys pride
themselves on having the right tool for the job, from audiophile
approved to pop production flexible.

And, the right tool for the job is often some kind of equalizer.

If there's a jet rumbling through your best take, I recommend it.

....and other than tacitly admitting that you're scared crapless of
equalizers and like to play the big prick, what's your point?

This one's parametric, and it's inexpensive:

http://www.behringer.com/02_products...&CFID=26384&CF
TOKEN=83594569

I've heard nice things said about it. The last Behringer thingie I
bought, and the thing before it were true and genuine great
values. Behringer-bashing seems to be a less popular sport these
days on Usenet.

I'm curious about the "digital patch bay" Ultramatch Pro, but I
don't have a current need for it.

I wouldn't call an Ultramatch a digital patch bay, but that's
another story. Lets get closure on equalizers, eh?

Behringer calls it that.

Umm, some marketing guy needed a nifty phrase for an advertisement.

Behringer's web site
http://www.behringer.com/02_products...C2496&lang=eng

....calls the "Ultramatch" a "24-Bit/96 kHz A/D-D/A & Sample Rate Converter"
which is far more factual. It probably has some of the same or highly
similar electronic pieces and technical performance as high end audio
boxes selling for many times more.


I've seen miracles with combinations of eqs and compressors.

Eqs are one thing in my book and compressors are something else. My
favorite application of compressor-type technology is dynamic range
expansion. That's the business of unsquishing music so it sounds
more lively, like it did when actually performed.

The combination can tame a wild recording that would be otherwise
unlistenable. Some things need to be squished.

Some performers and directors need more technical training.