2.5 The Grey Area
The boundaries at which corrective EQing ends and spatial EQing starts can get a little blurred, simply because of the very nature of the recording process itself.
Kind: concept (reamix-section) Chapter: 2 Pre Mix Fix: Corrective Action Source: ReaMix (October 2009)
The boundaries at which corrective EQing ends and spatial EQing starts can get a little blurred, simply because of the very nature of the recording process itself. No matter how careful you are with microphone selection and placement, you are never going to be able to reproduce with 100% fidelity a true representation of that live sound. This is such a common issue that it becomes a bit of a grey area, but it makes sense to address it before we move on to the next section. As a rule it pays to be wary of any suggestions to always EQ an instrument in this way or that way. Nevertheless, listen carefully to your instruments and see whether the following suggestions make sense. Notice, by the way, how much of the subtractive EQing in these tables takes place within that frequency range that we will later be describing as The War Zone.
If you wish to experiment with any of the settings on this page, insert a separate instance of your EQ plug-in in your track’s FX chain. This should be placed after any Corrective EQ plug-in. You should normally also use this second instance of your EQ for any further EQ that you may wish to apply to the track at a later stage in the mixing process.