Background
In sound recording and reproduction, equalization is the process commonly used to alter the frequency response of an audio system using linear filters. Equalizers, "adjust the amplitude of audio signals at particular frequencies," so they are, "in other words, frequency-specific volume knobs".
Tony Grant
When I was at Evesham (yes TO19) we had a signal generator to play with, and I was amazed to find that my hearing frequency response stopped at around 17kHz. So, I agree that everyone involved in sound should regularly have a hearing check.
And so on the vision side of things, especially with the advent of PSC, I was aware that there was a vicious circle of lighting and colour perception on behalf of producers/directors linked to correct monitor set-up and viewing conditions. Plus exposure etc. problems for cameramen unless the viewfinder was correctly set-up. Thus I attempted to ensure that all the people I trained on the vision side of things made up test tapes of known images/test cards, so that they could judge the state of viewfinders/monitors by replaying the tape first thing on each location. I hadn’t heard about Dickie’s “Distant Drums”, and so I thought I’d had a completely original idea, oh well.
Pat Heigham
I have a stupid idea that a mixing desk should now be set up to deliver various EQ settings to the Producers and Directors tuned to their particular appreciation – assuming that their hearing deficiencies are dialled in.
Dave Plowman
By the sound of much of the BBC drama output these days (2014), they’ve never heard of EQ. This is made worse by the now near standard use of radio mics buried below layers of clothing. And ITV is just as bad.
Even something as simple as the single studio presenter on the main BBC news usually sounds like a touch of judicious EQ would be a great help.
It would be nice to think it was down to the lack of properly trained personnel on so many of these things – but I’d guess there is more to it than that., as it can vary day to day.
Patrick Heigham
LG Studio G had EQ on the EMI desk, and yes, I remember the awful Tuchel cross-plugging panel. (probably not as bad as the F & E multi-pin set up in LG Studio R with which I wrestled every Wednesday, sorting out the Dr. Who FX for three years!) A jackfield where one could plug anything, anywhere would have been much better!
I don’t know whether the recent (2014) BBC dramas are post produced in house (what’s that, now?). I suspect not, so outside facilities are employed. From my film industry experience, I know that the guys who handle the post sound are pretty ace at getting the best out of a ‘mess of pottage’ and they certainly know about EQ. I know, personally, the chaps who spent three months sorting out the recent series of “Death in Paradise”.
Radio mics are indeed a problem, costume-wise, particularly with period dress. All sorts of tricks are used, in conjunction with the wardrobe department to sew in the mics. Why use radios? Because today’s Directors insist on shooting simultaneously with wide and close lenses, ruling out normal open boom pick-up to maintain perspective.
I heard, recently, that Bruce Willis’s apparel was wired – if he discovered the mic he would rip it out! God knows why, was he on an extra salary for post-sync? Sounds very unprofessional to me. (Probably didn’t want to be recorded farting in the loo!)
Dave Plowman
That doesn’t explain why a personal mic ‘in shot’ as on the BBC news etc sounds so woolly. “Newsnight” is another offender, but not always.
Patrick Heighqam
True enough – a Sony on the lapel should sound very clean.
I think it was the BBC guys who hit on the idea of clipping it on upside down to lessen consonant popping, although the mic is omni. Rycote manufacture mini windjammers (fluffy balls for exactly that).
For drama, I used to insert the ECM77 or a Cos11 into the knot of the tie for men, anchored with doublesided tape, pointing downwards. For ladies, it was an adventure to park it the bra. (Got one female presenter whose bra creaked with every movement, and I was forever cutting the take – Director got ratty, until I gave him the headset to listen!)
John Hays
Apropos the recent stories about EQing material, in 1958/59 at AP EQing. was regarded as the eighth wonder of the world. When the control room high up on the side of Studio. B, with its OBA 8’s and MX 18’s was replaced by a new control room, the new desk had no EQ facilities at all. Because of the sometimes dire quality of comopt sound, Jim Nutley, the Sound Supervisor, suggested that we had a Quad EQ device built into adjacent rack. This was agreed, presumably by Henry Tarner .It could only be inserted into one channel, but its use was actively discouraged by production staff — they preferred the sound "as recorded". They eventually came round to our way of thinking, but. as far as I know no further EQ was ever installed.
John Howell
That’s most interesting, I had thought that it was our management that didn’t approve of EQ. As I’ve mentioned before they put forward the view that having paid good money for systems with a ruler flat frequency response they didn’t want to equip us with devices that could give it the profile of the Himalayas.
When I started in 1962 a "Quad Presence Unit" was bookable from Stores: it was based on the domestic Hi Fi preamp but instead of the disc EQ options it had a selection of ‘Mid’ frequencies which could be boosted. Something like up to 12dbs of boost at 1.8, 2.4, 3.4, or 4.0 KHz. I think the bass & treble controls were still in place as well.
BUT, what was the WE1/1? I vaguely remember a large wooden White Elephant, but was it an EQ device or was it something like a variable speed disc turntable. Does anyone remember?
Dave Plowman
And then there was the Audio Baton – complete with ‘DMT protector’…
There was a high voltage DC output on the rear of the Audio Baton – I assume to power auxiliary valve equipment, or possibly just for test purposes. If you touched it you got a 200v DC surprise.
As Derek did.
Sound Maintenance fixed this by using a Dymo label to cover it – marked ‘DMT protector’.
John Howell
The Audio Baton was quite useful, it was usually inserted into the studio mics group on the old valve DK4 sound desks. I remember an Sound Supervisor, (not DMT!) commenting on how subtle the device was until he realised he hadn’t thrown the Group Divert key to put it into circuit.
Patrick Heigham
On “Panorama” we used a special filter in the mic line for Richard D’s BK6B to counteract chest resonance – there was no EQ in LG studios in earlier days.
John Howell
There was the D109 with a lanyard clip which would give up to 11dbs off presence lift (5-7KHz) when raised above the top of the mic.
You don’t even need a sound desk for that, although it’s a bit difficult to adjust on air !
The sound desks at Lime Grove were BBC Type A with rotary faders and there was no way to insert any outboard devices except an echo room.
The view back then seemed to be that having paid the earth for microphones that have a ruler flat frequency response nobody should need to alter it. If the audio was no good the mic was in the wrong place!
Pat Heigham
Mic in the wrong place! I remember a story from the Black and White Minstrel Show. George Mitchell wanted the same Sound Supervisor to balance the singers and music – the Corporation’s response that any of their SS’s were capable. Not good enough for George, so he took it to Lansdown (Adrian Kerridge) who produced the transmission tapes There was one session where something didn’t sound right – turned out that the mic stand was a few feet out of normal position!)
