Eq'ing steel in the studio

[Mark Wayne]

Some observations I've found adventageous in the studio when trying to achieve a warmer tone miking a Nashville 400 or Nashville 112 playing an Emmons Legrande II or III pedal steel, or even the late model Zums: When I eq the steel before combining it with the final mix, I usually cut 2.5k about a good 6db, and then cut 6.3k about 4 to 6db. Keep in mind that the acoustic environment (type of walls, flooring, etc.) of your studio or room where you record will dictate much of the level you may want to increase or decrease in your eq'ing while recording your steel, if you choose to eq.

Prior to redoing my studio to try get the best reflective tones possible, I was cutting 3k incredibly (about 10 - 20db). I had to fight to get a desireable tone at times. After implementing many of Ethan Winer's concepts at my studio for installing treatments (rockwool panels, pine walls, rigid fiberglass panelling and diffusors), it's rewarding to hear the improvements in the mixes that culminate from such tonal changes caused by a properly treated room. Even practicing steel can make for a more pleasant experience if you simply experiment with a 30-band EQ in your room or studio, cutting undesirable frequencies. Thanks for your time.

Visit us at: http://authenticrecording.com

[Brian McGaughey]

Hey Mark,

I think that considering all the variables prior to getting a track recorded, specific eq could vary greatly from situation to situation. P/U, amp settings, speaker, mic, mic location, etc all would play a roll in recorded sonic qualities.

That being said, I think you're on to something regarding a good sounding room, especially if using a mic that has a pickup pattern without much rear side sound rejection.

One thing I know for sure regarding eq to specific tracks, an increase at 3K makes many things pop out of the mix but somtimes at the expense of making them sound too "crispy"...it can be fatiguing for sure!

[Mark Wayne]

Brian - I agree. Actually, the source of the recording in which factors you listed, should be one's goal in getting that best tone. My mind has been has been on acoustic treatments so much lately that I missed those things. Still have to stress that steel players should observe their surroundings and make changes if necessary in addition to the things that Brian mentioned.

[Jack Stoner]

Interesting, I'll have to try some of the EQ's on my Franklin and Sonar. I've been recording, lately, with just the POD XT (and a preamp program) directly into my Focusrite Saffire Pro 40 interface. My Franklin has Lawrence 710 pickups and according to Paul Franklin (Sr) there is very little EQ needed with a Franklin from what Nashville recording engineers tell him.

The Boost 11 compressor that comes with Sonar seems to bring things out too in the final mix. (I have Sonar 8 Producer version). I did a CD project for a singer last year and the fiddle seemed "dull" until I added the Boost 11 and it brightened up everything including the fiddle.