We all know that EQ is a powerful tool when recording, as it can help you sculpt the perfect sound before it hits your DAW. But what if you don’t own a hardware EQ or a channel strip that bundles one with the preamp? Can you still EQ your recordings without one? The way I see it, your microphone has a simple EQ built in.
Via Ilmicrofono Oggiono Flickr
Two Things You Need To Know
If you can grasp these two simple concepts it will help unlock a lot of potential in your recording sessions, no matter where you record or which microphones you use. I’ve written at length that mic placement in general is paramount to getting a great recording. But specifically there are two facts you need to understand about how most mics work.
The first fact is that when you angle a microphone off axis from the source (roughly 45 degrees) you tend to tame the high frequency response that it picks up. The second fact is that when you move a microphone closer to the source you get more bass response, and vice versa. Both of these facts assume you are using a cardioid polar patter with your microphone, which most of you are.
Smooth Out The Top End
It’s funny how so many people are critical of affordable $100-$200 microphones, especially when it comes to supposedly how harsh they sound. Now I’m aware that many of these microphones have a little high frequency bump to give you more presence, but you know what? So do many high end microphones.
Either way, let’s say you’re miking up your guitar amp and the recording you’re hearing back with your microphone in front of the grill is just too bright. The first EQ move you can make is to remember fact #1 from above and simply turn the mic to a 45 degree angle. This off axis response will likely give you a smoother top end that might be the perfect balance for your recording.
Give It More Bottom End
Now remember fact #2? When you move a cardioid microphone closer to the source you get more bass response? This is because of something called the Proximity Effect. The Proximity Effect can either be your best friend or your enemy. It simply depends on what kind of sound you need on that given recording.
In our previous guitar amp example, you finally smoothed out the top end, but found that the sound was still a little thin. No more harshness, but now not enough bottom end. Solution? Move the microphone a little closer to the amp. The closer you get, the more bass response the mic will pick up because of the Proximity Effect. It’s as simple as that.
Don’t Miss The Big Idea
Now, forget the specific example I gave because I don’t want you to miss the point. The big idea here is that by changing the angle and distance of your microphone you can dramatically alter the tone of the signal. In essence you have a high and low frequency knob built in.
Once you understand the concept you can easily tweak your mic as needed to sculpt the perfect sound, no hardware EQ required. Pretty cool huh?
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My name is Graham Cochrane and I'm the founder of The Recording Revolution, one of the world's most loved audio recording and mixing blogs with over 200,000 readers each month. 
Excellent.
Definitely. Great article, Graham.
Makes so much sense. I mean, why spend time with an actual EQ only to try to get rid of bad frequencies when your EQ time should be balancing the whole mix. This is a much bigger tip than people think. At least in my opinion. Great post!
Absolutely correct! Might I add that there are a million and one different mics and they all have a specific “sound” (EQ curve) of their own. So it also helps to have different mics. Some are bassy (vintage), some have no bass (cheaper Chinese made), some have rolled off highs and lows (ribbons). In knowing which mic is right for the source and using the tips in your post… You practically eliminate the need for EQ.
Graham, what is for the little button that has that microphone on this picture? the one who is in the center ? what does it do ?
This post reminded me of the Pensado’s Place interview with Al Schmitt, who basically said he doesn’t apply EQ at all unless absolutely necessary, meaning he primarily uses mic choice and positioning to get the tone he’s after.
http://youtu.be/tcwGXQI1U_4
Thanks Graham for the excellent common-sense approach to elaborating on that concept.
I appreciate your input. I read in Sound on Sound that mic placement @ 45 degrees wasn’t advised
for home studios due to room. I guess your mileage may vary. It’s another option to try.
Just a word of caution about using the proximity effect… make sure your condenser or ribbon microphone can handle the higher SPL when closer to the source. Distortion from clipping is one thing, but a blown out diaphragm would suck. 🙂
Good point!
Graham, nice post as usual
Now considering that I own a Nady SCM900 (I know I know), and it has a switch for a low cut -6dB @ 100Hz when you take it apart, should I just enable that (in your opinion) if with most EQ’ing you generally roll off the Lows @ 100Hz anyway?
I mean if you want to always get the sound right “at the source” wouldn’t it be in the best interest to pre-EQ with a setting on the microphone if applicable?
(I see the blue switch in the mic picture above is what I’m referring to {I think that’s a B200?})
Thanks again man and keep up the awesome work!
You got it! I’m almost always using the low cut switch on the mic if I have one.
Cool!
Thanks for the response
This is great advice, as always. I’ve been using this technique myself lately with acoustic guitars when double tracking. Instead of just playing the same part twice with the mic in the same spot, I’ll angle the mic differently until I get a sound complementary to my original take. For example, I’ll mic the acoustic one part that sounds big and beefy and then the next take I’ll angle the mic towards the head of the guitar facing the fretboard. That gives me a more percussive, present tone that would complement the previous take. It’s done very well for me lately. Also, when dealing with microphones, it just makes SENSE to track your source how you want to hear it in the mix. This only serves to optimize your post production.