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of the mid bands. Slowly sweep through the frequency range.
When the really nasty sound jumps out at you (you'll know it
when it happens) turn the boost back to "0" (12 o'clock). Now
put the track back into the mix and cut the frequency. You'll
have to adjust the level of the instrument depending on how
much you cut, but you may find that with the "problem area"
pulled out, the instrument works better in the mix.
When recording EQ'd instruments you want to make sure you
have good representation of frequencies on tape. Always moni-
tor "off" tape when recording. This ensures that what you're
hearing is what is on tape. When recording things like kick
drums, make sure you have enough low end "thud" and high
end "click" (if applicable) before you record.
Recording guideline: You can always boost or cut frequencies
after they've been recorded, but you can't add frequencies that
weren't' recorded! Always be prepared for the drummer who
says he loves the John Bonham kick drum sound (lots of low
end power and ambience) you got when recording but now, dur-
ing the mix, he decides he wants to sound like Metallica (more
click than punch).
If you get the sounds right when you're recording you shouldn't
be spending a lot of time re-EQ'ing during the mix. During mix-
ing you should be concentrating on the blending of tracks and
the dynamics of the song. If you find yourself EQ'ing everything,
take a break and come back to it later. Start mixing with a group
of instruments (the whole drum kit or guitars and bass) instead
of listening to individual tracks. Mixing is the time for tweaking -
not applying a sonic re-design.
Once again, "if it sounds good, print it!" Trust your ears - never-
mind where the knobs are pointing.
Unpacking
Your Dual Tube EQ was packed with care at the factory. The
shipping carton was designed to protect it during initial ship-
ment. Please retain this carton for use in transporting the Dual
Tube EQ, or in the unlikely event that you need to return your
Dual Tube EQ for servicing.
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