Tascam M-300 Series Operation & Maintenance Manual

Contents

HOW TO USE THE EQUALIZER (EQ) SECTION ON THE 300 MIXEREqualization can be used to alter the tonalityof a signal. Unfortunately, the same ability tofavorably change one signal may resu lt in anunfavorable alteration in another. When usingEO, care must always be taken to not "over·do it". While we can describe the mechanics ofthe EO section found on the 300 Series, wecannot offer specific control settings for achiev·ing the "best" results. Our idea of what soundsbest may not be the same as yours, so onceagain, we will only describe the science orobjective portion. The subjective portion of theart of applying this knowledge properly mustremain the responsibil ity of the person per·forming the mix.The EO section found in the 300 Series is athree band semi-parametric or sweep-type de·sign with a shelving type high frequency portion.Both the low frequency and midrange portionshave two controls each. One control determinesthe center frequency of the affected band whilethe second control determines the amount ofboost or cut applied to the band. The frequencyranges are as follows: low frequency, 50 Hz·1 kHz; midrange, 200 Hz · 3 kHz. Both offer1 5 dB boost or cut. The high frequency circuit isfixed at 1 0 kHz with 12 dB of boost or cut.When mixing an input signal, the fi rst decisionregarding equalization is wether any EO is need·ed. If not, you can bypass the unused electronicsby releasing the E O ON switch.If EO is desired, begin by determining whichband requi res alteration. Sometimes morethan one portion of a single signal requi reschanging: thus, it is possible to boost or cut allthree sections ofthe equalizer. Usually, however,only one band wi l l need to be adjusted. Keepin mind, there are two ways to alter the tonalityof a signal using EO. One is to adjust the specificcontrols which affect the desired frequencyrange. The second way involves making theopposite adjustment to the other portions of thesignal. For example, if a vocal signal is a littletoo bass heavy or "boomy", one way to correctthe problem is to reduce the low frequency con·tent. This is the direct method. The secondmethod provides the same end result but is in·direct . . . by increasing the amount of mid andhigh frequency signal content, the "boominess"may come in handy on those occasions wherethe direct approach doesn't yield the desired44results.Once you have determined that 1 I the signal doesrequire EO, and 2) the proper frequency rangehas been identified, the final steps involveturning the proper controls. Sounds simple,doesn't it? But if the proper range is either lowor mid range, there are two controls to adjust,so how will you adjust the F R EQUENCYcontrol correctly? The technique is actuallyrather simple: first, adjust the GAIN control ofthe band so there is an exagerated amount ofboost or cut, then, slowly sweep the F R E·QUENCY control through its entire range. Asthe control is turned, you will hear the cha ngein the signal's content. When the desired fre·quency is isolated, set the GAIN control to thenecessary amount of boost or cut requiredfor the desired change. Whenever possi ble,avoid making these changes during an actualperformance or recording. The sweeping actioncan create an undesired effect.The illustration shows how different i nstrumentswill be affected by changes in EO settings, andindicates how some instruments will be un·affected by changes in one EO band. Cymbalsand flutes, for instance, would not be alteredmuch by changes in the low frequency section,especially if the F R EQUENCY control was setbelow the 1 2 o'clock position. This is becausethese instruments have very little signal contentin this range. On the other hand, the sweepcapability allows you to boost or cut specificparts of signals or instruments without alteringthe sound of other signals. On drums, forinstance, the kick or bass drum can be broughtout by carefully turning the low frequencysection of the EO, thus al lowing the one drumto sound more prominent than the rest. Thesame tech nique can be used on vocals or anymultiple mix of signals, as long as the variouscomponents operate normally in slightly dif·ferent frequency ranges.As with all other aspects of mixing audio, experience will help you learn the capabilitiesand limits of the E QUALIZER. No amount oftonal change can, for example, correct instruments which are out of tune or signals whichare distorted.