Alan Parsons started his career as an assistant engineer at EMI's 'Abbey Road' recording studios. Here he worked as an 'apprentice' for engineer Geoff Emerick, helping to record the 'Let it be' and 'Abbey Road' Beatle albums.
In 1973 he engineered Pink Floyd's 'Dark Side of the Moon', later forming the 'Alan Parsons Project' and becoming an artist See morein his own right.
Please watch the Alan Parsons EQ video. Look at the first question and replay the video. Answer the questions.
Feel free to make any notes that you think will assist you in your recording project.
How loud a piece of equipment can record
How expensive a piece of equipment is
What the 'Bit depth' is in a piece of equipment
How much noise is added by the microphone
How faithfully the recorded sound is reproduced by equipment
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The volume decreases with further away from the sea, as does the amount of high frequency
The volume of the breaking sea waves increases with distance from the sea. High frequency content increases too.
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In radio broadcasting to prevent signal overload
To improve guitar amplifier tone
To make up for the poor quality of telephone communications
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It does not really make any difference to the tone of a signal
It requires a power supply for its transistor amplifiers
It has no need for an external power supply as its circuits have no amplifiers
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Nano Webers
Decibels (dB)
Herz (Hz) or Cycles per second
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Shelving
Parametric
Graphic
High pass filter
Barry Manilow
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Editing it out
By crying
Using a compressor
Using a 'Low Pass filter' to remove high frequency
Using a 'High Pass filter' to remove bass
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Increase the high frequency 'Sheen' on a vocal
Decrease rumble from a bass amplifier
Remove high frequency 'Hiss' from guitar amplifiers
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Win, loose or draw
Left, right and fire
Range, decay, gain
Threshold, ratio and attack
(Frequency selection), (cut or boost) and (bandwidth (or 'Q')
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'Notch Filtering'
'Crotch filtering'
'Scotch filtering'
'Vox Filtering'
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Length of the guitarist's hair
Day of the week
Alignment of the moon
Pick-up selection and microphone positioning
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Applying no EQ during recording
Putting plenty of EQ on, during recording
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Stand on your head
Don't use any equipment you don't know
Bring a CD of music that you know well, or bring your own monitor speakers
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Headphones are always more accurate
Headphones have more bass
A large percentage of the listening public have portable MP3/iPod music players
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20-40 Hz in the sub-bass
16-18 KHz in the very high frequency range
1-3 KHz in the Mid frequency range
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A boost in the 50-100Hz range
A cut in the 50-100Hz range
A cut in the 1-3KHz range
A cut in the 12KHz range
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40 - 250 Hz range
12-20 KHz
20-40 KHz
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The rumble
The 'Thump' or body
The 'Click' of the beater (the transient 'snap' of the kick)
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The indistinct 'wooly' sound
The 'Click'
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300 Hz
1 KHz
10 KHz
100 Hz
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Flanger
Echo
Reverb
A 'Compressor'
A 'Noise Gate'
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Cut at 40 Hz
Boost at 350 -700 Hz
Cut around 7.5 KHz
Boost an EQ between about 7.5 - 10 KHz
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2.5 - 5 KHz
800 Hz
40 Hz
8 - 10 Hz
8 - 10 KHz (around the 'air' range)
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