Basic EQ question, not only for the DP-008EX

[dctdct]

My first thread here. After reading user manuals for months (mainly DP24SD, Model 24) I got a DP-008EX to start with. My rig consist of an organ and a string synth (both stereo), as well as a mono synth and soon a drum machine.
They are premixed with an analog Phonic MM1002. Now that I got the DP-008EX I connected the MM1002 MAIN L+R OUT to the portastudio INPUT A+B. My first steps with MTR went well so far.

Digging more into the recording (and mixing and mastering) topic I got lost regarding the correct point on the path to apply EQ to an instrument (or track or song).
Until a week ago I had only my analog mixer and consequently applied some EQ adjustments for the string synth (reduced some dB at 12 kHz), because it was too acute in the mix. Reading more into the portastudio manual and here in forum threads I understood the DP-008EX offers additional and far more EQ capabilites. The first just after the input TRIM (for each incoming signal to track), and the second during mixdown. Again for every each track separately.

Here I am now with 3 points in the signal path where I could apply EQ to the single channel. Is there a good practice where to that? For the moment I kept it as it is (EQ already in the premix), because this way I get also a balanced mix if I just play to the monitors, without recording. But is this the correct way to go having so much more possibilities in the portastudio?

Thank you for your thoughts and advice.

 

[-mjk-]

@dctdct welcome to the Tascam Forums. Great question. But, that's like asking "how do I engineer a good recording?" The answer is: practice, trial and error.

Where to place the EQ is important for more than one reason. If you apply EQ during the recording process and then apply EQ again during the mixdown process you can increase noise and maybe even add distortion. In the 80's I recall a Berklee engineer doing a session in my room and he added EQ to everything he put down on tape. Later, while mixing he had every EQ on the 32 channel API console, engaged. He even asked me for a de-esser because the lead vocal was too sibilant! It was too sibilant because he made it that way by adding too much high end EQ while recording.

Until you get more experience, you are better off applying less EQ (and effects) during the recording process so you don't end up "painting yourself into a corner" by having tracks that just do not sound good when combined as a mix. As you gain experience, you'll figure out which tracks could benefit from EQ when recording.

For the moment I kept it as it is (EQ already in the premix), because this way I get also a balanced mix if I just play to the monitors, without recording.

If you are hearing what you want to hear, I would say that your approach is good.

But is this the correct way to go having so much more possibilities in the portastudio?

The correct way is whatever gets you the results you require. You don't have to use every function to get a good record. Recording is one of those disciplines where "less is better" really is true. We all overdo things occasionally. More than once (how about more than a hundred times?) I've gone back to zero and starting the mix over because I was adding too much to the mix, making too many changes to the original sounds.

Try to get the best sounds out of the instruments first. Then, touch it up a little if necessary. Good clean recordings yield good mixes later down the line.

 

[dctdct]

If you are hearing what you want to hear, I would say that your approach is good.
:
:
Try to get the best sounds out of the instruments first. Then, touch it up a little if necessary.

Thank you for the these confirmations. Wisdom out of practice is exactly what I was looking for.