Installation, Eurorack MX2004A connections

EURORACK MX2004A

voices punch through a mix in a slightly unnatural but exciting way.

In general corrective EQ usually involves broadband (slope) contouring, together with narrowband notching of unwanted resonances. The narrower the notch or “Q”, the less the total signal will be affected.

Finding bad resonances is made easier by first frequency sweeping in BOOST mode.

“Motown” EQ is achieved by applying boost in a fairly broadband way. The broader the band, the more musical but less instrument-specific the effect. Applying boost over a narrow bandwidth will sound “honky”. For sounds which require drastic corrective EQ, it is advisable to have a couple of channels of fully comprehensive Parametric Equal- ization in your rack. (You can always bounce tracks though the outboard EQ, freeing up the unit for the next task).

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For “advanced equalization”, EQ might be applied to a signal as follows: First, trim the LF and HF shelves to achieve the required slope or “loudness”. Now use a parametric EQ band to boost the most significant fre- quency for each instrument or tape track. Over all channels, if two or more of these frequencies coincide, then you might have to settle for second best in some cases, if you want to achieve optimum separation in the mix. Really nasty frequencies will need notching out.

A good vocal signal can be enhanced by applying a significant boost in the 12 kHz region or higher, above the nasty sibilance region. This is especially effective if you’ve got a de-esser patched post-EQ.

+Use the low-cut to tighten up channels in a mix: maybe remove it only for the bass, kick drum, toms, tablas, didgeridoo and other deliberate subsonics (when recording classical music ig- nore this advice).

With the LF set to boost, and the low-cut switch activated, you have pretty much got a peak response rather than shelving at the bottom. Good for tight but deep bass.

Remember EQ contouring can be done with cut as well as with boost. Cutting away the top and bottom, then pushing up the gain is equivalent to mid range boost! EQ is not a one way street!

Always re set a channel’s input gain (or external devices’ output level) after altering the amount of desk EQ cut or boost applied.

7.1.2 Gain optimization

PFL (Pre-Fader-Listen) is the way to set a desk level. Master aux send levels are fixed at unity gain. As the mix progresses, more and more channels are likely to be sending to effects via the aux buses, and it’s best to PFL all sends just before setting up for the final mix.

Outboard reverbs etc. should all be made to work hard. There’s no point in having an 85 dB dynamic range if the input meter of your reverb is barely flickering. On the other hand, digital distortion is not one of the nicer noises around. You’ll have to rely on your ears to detect digital distortion, since different outboard processors calibrate their meters differently.

If you hear distortion, turn down the input on the FX unit, and turn up the desk’s aux return input.

99 times out of 100 distortion in the aux send > FX > aux return loop will come from the FX unit (FX gain too high), and the same goes for a high noise level (FX gain too low).

Analog multitrack tape should be driven quite hard, since its dynamic range (without noise reduction) is likely to be 20 to 30 dB worse than other elements in the recording chain. Try to record bright. You can always mix back duller. Brightening up an off-tape signal will bring up the level of tape noise. With digital tape or hard disk you have plenty of dynamic range, and treble pre-emphasis is not often necessary. Just don’t let the signal distort!

When mixing or recording, keep the channel fader levels around or below 0 dB. If you do find the faders creeping up or down, apply a suitable offset over all channel faders, and try to control your bad habit in future!

8. INSTALLATION

8.1 EURORACK MX2004A connections

8. INSTALLATION