Assuming you have 3 equalizer knobs on your mixer, how do you typically keep them by default when recording a CD. Do you adjust to each song or allow the knobs to be neutral to preserve how the Artist had it mastered? I jump back and fourth on this one alot. I know the answer is whatever that feels right and sounds good, but I was just wondering from a professional stand point. Different people have different sensitivities to sound.

umm flat

only way to go

12 o'clock all the way...

flat, flat, and flat

you can add an overall mix EQ later, but aside for effect purposes, the EQ's never go past 12:00.

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mostly flat, but some tracks have seriously lacking bass for example due to bad mastering or whatever so then i'll boost it a bit to make it sound a bit better. some tracks on the other hand have way too much bass IMO and i have to cut the bass eq quite a bit to make it sound better (deadmau5 - faxing berlin for example). but these are rare occasions. it's usually flat at 12 o'clock for 99,9% of all my tracks, except during transitions of course.

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quote:

Originally posted by skip mostly flat, but some tracks have seriously lacking bass for example due to bad mastering or whatever so then i'll boost it a bit to make it sound a bit better. some tracks on the other hand have way too much bass IMO and i have to cut the bass eq quite a bit to make it sound better (deadmau5 - faxing berlin for example). but these are rare occasions. it's usually flat at 12 o'clock for 99,9% of all my tracks, except during transitions of course.

+1

it all depends

your ears should tell you

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I prefer only to play bass so I usually bring my highs and mids to a couple clicks above 0

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quote:

Originally posted by Tony Morello +1 it all depends your ears should tell you

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I guy I've played with several times has it in his head that it's the DJ's job to "put his own spin" on the tune by EQing the music, and used to set them at ridiculous levels, such as the high EQ at 4 o'clock, blasting the crowd with an overly filtered hi-hat sound. He'd leave it like that for the whole song, and it used to do my head in. Besides that he was a good DJ.

So, to answer, I'm a strictly 12 o'clock man, because they don't spend hours in a studio mastering a track with 30 EQs just so that you can use a meagre three to fuck around with it; unless of course the bass is overpowering or lacking, ala Signum - Harmonic, even then though, I think it should only be a slight turn, not more than 5 or 10%.

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quote:

Originally posted by Beat Blog So, to answer, I'm a strictly 12 o'clock man, because they don't spend hours in a studio mastering a track with 30 EQs just so that you can use a meagre three to fuck around with it; unless of course the bass is overpowering or lacking, ala Signum - Harmonic, even then though, I think it should only be a slight turn, not more than 5 or 10%.

You know 3 o'clock is (usually) a 3dB boost right? That's a 100% so 5-10% boost would be like 1 minute past twelve . That's like less than a millimeter turned compared to 12 o'clock. You must be very precise ... I sometimes do even +6 dB boosts (5 o'clock). As a little creative tool though, not for mixing in general. Just to let that last synth of the track you're mixing out blend with those of the new one. Can be pretty neat sometimes .

I'm just saying there's always an exception I guess, so I prefer to not really stick to the guidelines even though they're okay in a more general sort of speak.

It comes down to what's already said... If it sounds good...

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If less is more think about how much more more would be. -Frasier

FLAT is what I thought. Some CD's sound totally crytal clear when you play them back, on let's say your car without adjusting the equalizer(Like they've been ran through a computer program with an added equalizer already)
I just always wondered if that "tweeking" was applied while mixing or after the fact.
I usually set the high's between 1 o'clock or 2 o'clock to give it that extra clarity/high fidelity sound. I find that having all 3 flat is my preference when listening to it back LOUD, say at a party since all attributes that make up the total sound is then unified and the right balance of sound comes from all the instruments(none overpowering each other). But if I'm in my room at night and the music is turned down, the high's set a little higher than flat will make it more comfortable to hear and less like listening through a fog. Am I making any sense?

1 qn that has been bugging me is,

how do u guys gauge both tracks ? UV meter with eqs sometimes also are inaccurate say if its bass heavy ?

i have this problem where even though the meters seems matched, when played the incoming track is louder than outgoing. is it the case of wrong EQing ?

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