- Feb 3, 2020
- South East Asia (not China or SAR's)
Tell that to any decent SE.
I do tend to nowadays use fully parametric EQ's on the inputs, in digital desks for live use. Because I notch out the acoustic feedback frequencies. That needs parametric EQ's with Q levels I have not seen in analogue parametric EQ's.
Even if you get a high enough Q, 4 bands are very limiting for that.
And I still need TONE CONTROLS on top, to shape the TONE. Which is what we need for broadcast and recording, as opposed to
A fully parametric EQ is overly complicated for that purpose and harder to use than the classic designs. On top of that to fit that on a desk, knobs get so small, I need tweezers to turn them!
So I normally like 6-8 parametric bands for notching out feedback (that are completely unnecessary fogrrecording music) and a classic 4Way semi parametric.
I never touch the frequency or Q setting during use, only for setup and soundcheck. In use I have a simple 4 Way tone that is immediately intuitive and simple to use, for live situations with bands that were not during sound check and need a lot of work to sound good.
If in the studio we really need a full parametric EQ to be "creative" (aehhm, yeah, right), well that's what George made the 8200 for, get one and patch it in.
I guess different strokes for different blokes. I believe things should be as simple and intuitive as possible while being serviceable, but no simpler.