In article ,
"Arny Krueger" wrote:

"MiNE 109" wrote in message

In article ,
"Arny Krueger" wrote:

"MiNE 109" wrote in message

In article ,
"Arny Krueger" wrote:

"MiNE 109" wrote in message


Just wondering how I would go about it. My system has no tone
controls.

You can buy boxes that are nothing but tone controls for reasonable
prices. They are called equalizers.

So I need to equalize my system to make it favor lps?

Or CDs or whatever.

As it it, I don't hear a difference in system performance.

If it's not broke don't fix it.

I can do that!

They work well when connected between preamps and power amps. You
can buy them on eBay for reasonable prices. My favorite pieces are
the Rane ME-30 and ME-60, along with the Rane PE-15.

The description says it the eq bands are narrow enough not to have
"interaction" with adjacent bands. Still, lots of stuff in the
signal path.

You've obviously never looked seriously at what happens during
normal audio production.

Yes, I have. Those mixing board eqs aren't always on.

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

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.

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.

Comparing parametric with fractional-octave (graphic), I find
fractional-octave or graphic more intuitive, but parametric is more
likely to be a more exact compensation for physical issues.

You should understand what "frequency" and "bandwidth" are to work
well with a parametric. All you really need to understand is
"frequency" to use a graphic eq.

I think that the golden ear fave is parametric.

A skilled worker can fix most things with either. For example just
about every current Big-3 car radio has a 4 band (or more)
parametric per loudspeaker location (i.e., 4 in most cars), both
standard and premium systems. No factory-set graphics because they
would cost a lot more to implement.

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.

Stephen