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A parametric equalizer offers perhaps the greatest fl exibility of any type of equalizer, however it
can be more diffi cult to arrive at a setting than with other equalizers. A good strategy for setting any
equalizer is to set the level control for maximum boost, then vary the Frequency and Band width
until you locate the portion of the spectrum that you wish to modify. Then refi ne the setting of the
Level control for that band. Next refi ne the setting of the Bandwidth control. You may have to go
back and forth between Level and Bandwidth to fi nd the magic setting. Toggling the EQ Bypass
switch between in and out can help too.
As a rule, it is much easier to hear changes in amplitude (level) than it is to hear bandwidth
changes. It is also easier to hear the abun dance of something rather than the absence of the same
thing. Even if you intend to apply cut (negative level) to a particular frequency, it is still easier to
fi nd that frequency by boosting fi rst, tuning second, and resetting the boost/cut last according to
taste or need. Finally, you may fi nd that more natural sounds result when you use wider band widths
for boosting, narrower bandwidths for cutting. Regardless, there are no hard and fast rules and in
the end, whatever works for you is best.
It’s generally easier to apply boost to a sound for shaping (and that’s how many engineers start).
Many times, however, you may want to experiment with removing an offending sound (as opposed
to drowning it out with something else). In a complex mix, this may work better because it may
require less overall EQ to remove the offending sound; the end result will sound more natural.
DE-ESSER
The de-esser uses a variable-frequency crossover whose outputs are mixed. The high-frequency
path through the mixer is controlled by a VCA whose gain is a function of the sibilance content of
the input signal. In sibilant speech, the dominant frequency component is the sibilance itself. Re-
ducing the level of high-frequencies during periods of sibilance reduces the level of the sibilant.
Set the de-esser by adjusting the T
HRESHOLD level until the de-esser’s gain reduction display indi-
cates around -12 dB. Now “tune” the FREQUENCY control until the sibilance is no longer objection-
able. Finally, modify the THRESHOLD control setting until you have the desired degree of de-esser
action.
COMPRESSION
The compressor generally controls peak levels and helps to maintain a high overall average signal
level. Used in this manner, the compressor’s action is generally inaudible. Compressors can also be
used creatively, to make a source sound louder than it really is, or to create a special effect.
For most level control applications, moderate settings yield the best results. We recommend a start-
ing point of: COMP THRESHOLD control setting suffi cient to cause about 6 to 8 dB of gain reduction
on peaks using a C
OMP RATIO setting of 4:1.
For a highly compressed sound (you know, the used car salesman during the 3AM movie), use a 10:
1 ratio setting and 10 dB or more of gain reduction.
DOWNWARD EXPANDER
The downward expander reduces its gain for any signal level below its threshold setting. Typically,
downward expanders are used to remove noise or unwanted signal from an audio signal by simply
lowering the gain when the overall level falls below threshold.
Think about using the expander when you are faced with a noisy signal (not necessarily hiss) or
when heavily compressing a voice and you want to remove some of the less desirable artifacts
(false teeth rattling, lip smacking, tongue noise, etc.) You can also use the expander to help remove
microphone leakage from a signal.
Start by setting the threshold so that the expander causes gain reduction (left LED meter) as the
signal falls in level. Increasing threshold levels (less negative numbers) cause further reductions in
the overall gain as the signal level falls.
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