Warm Audio EQP-WA Bedienungsanleitung Seite 8

A BIT OF HISTORY
Most early recording consoles had very primitive equalization capabilities, often consisting of only
two knobs. These consisted of either a simple 'tone control' type shelving equalizer, or a 'low'
and 'hi' control knob with a fixed frequency center. One of the most significant advancements
in early studio recording
dedicated equalizers
equalization into their
would consider the modern recording desk.
Many of the earliest outboard equalizers were passive devices, operating in a purely subtractive manner, requiring a
preamplifier (either in the form of outboard gear, or routed back into an unoccupied channel of the console). Not only
did the equalizer lose signal level by performing equalization; but often caused 'loading loss' merely by being patched
in, resulting in added noise, hum or buzz, and loss of tone or high frequencies. By the time an equalized signal was
preamplified again and passed through additional console circuitry, the signal to noise ratio was often worse off. This
made EQ difficult to use without negatively affecting the signal quality.
What followed next was the innovation that brought the use of EQ into the mainstream, known as active equalization.
'Active equalization' allowed an EQ to be patched into a mixing desk for the first time without the fear of 'insertion
loss' , added noise, or loss of fidelity. Finally, EQ could be performed risk-free. Most analog equalizers manufactured
today use some form of solid state electronics to apply their boosts or makeup gain. The earliest incarnations of these
equalizers, however, used vacuum tubes, along with large input and output transformers, as required by most high
voltage tube circuits. This type of design imparts a 'sweet' character that many modern designs fail to reproduce. Though
many modern EQ's have a generous amount of features, few offer the warmth and richness, or the natural and forgiving
qualities of the classic designs.
In the early days of recording, distance mic recording was more common than close-mic technique.
Large rooms tend to 'even out' a sound stage, eliminating the need for much of the corrective EQ used in modern
production. As close mic recording became the accepted norm for superior track isolation, the need for equalization
became much more apparent to recording engineers. Early studios began to utilize what many termed the 'Tamla/
Motown' technique (named after the famous record label and studio), whereby an instrument or voice is 'manipulated'
to some degree via equalization in order to sit well within the context of a mix. Today, this is a nearly inseparable part
of the art and science of modern music production.
7
came with the
inspired desk manufacturers
desks. This addition,
advent of dedicated
to start
more than any
equalizers. The
putting more
other, brought about
invention of
comprehensive
what we