There is the eq curve introduced at the beginning of the cutting process,
nominally reversed during playback. These are specfcific, objective, once
the actual settings are determined.
There is eq required to overcome deficiencies in the recording setup.
Correcting this is subjective.
Telling one from the other is an art.
The finished audio product doesn't care.
My process: Use the most likely curve when dubbing, followed by my own
ears, reinforced by a spectrum analyzer, using digital eq.
Some sonic alterations that accur during digital processing may require
further eq touch-up. Sometimes this can be done earlier in the copying
process when outcome of the rest of the process is known by the engineer.
It avoids a second pass through eq, but ya gotta be lucky.
An alternate solution is to do the best you can, digitally process,
reconvert to analog, do a final eq, than a final digitization.
Theoretically a no-no but often quite effective.
----- Original Message -----
From: "Fred Thal" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, March 10, 2010 9:26 AM
Subject: Re: [ARSCLIST] Disc EQ in the digital domain
> Hello Eric,
>> Transfering FLAT will cost you about 6-7 bits of dynamic
>> range - an audible loss. EQ in the digital domain will not
>> recover that lost dynamic range.
> Can you describe the mechanism by which the dynamic range is lost in
> this process? Or can you point me to any relevant literature that
> fully explains this?
> Thanks in advance.
> Fred Thal
> ATAE / Audio Transfer Laboratory