One afternoon at a TapeOpCon, I was debating equalizers with Rupert Neve [Tape Op #26, #87] when hotel staff endeavored to move four loads of folding tables in a single trip. Basically, a seven-foot Jenga on wheels. Upon taking the corner too fast, the whole thing went caddywompus faster than I could spellcheck caddywompus. Fortunately, no one was hurt, but a crew of us were hemmed in behind a rampart of table pieces and parts. As gravity had it, Mr. Neve was trapped beside me and my incessant talking. Soon, I asked him why someone would be foolish enough to EQ while tracking. "Why not move the mic?" I asked. He insisted that our first responsibility as engineers is to capture the best possible sound at the source. Many sounds benefit from frequency shaping for good or ill, and it would be irresponsible to pretend otherwise. Committing EQ on day one avoids hours of decision-making later. Mixing becomes streamlined and often concludes faster.
Since then, I've kept an eye out for tracking EQs. Drawmer's newest 500 Series EQs are the single-channel MQ-1 and the dual-channel MQ-2. Both units share equalizer design and include a harmonic Crush circuit. However, the MQ-2 adds metering plus a one-knob compression circuit. Drawmer explains that these 100% analog circuits were inspired by the 1960s Motown EQ. Born from an era where recording studios made the gear they required, such as the Hitsville Chamber [Tape Op #155]. Legend has it that only 48 of the EQs were made, so a brief outline is in order. The design included seven bands at fixed frequencies (50 Hz, 130 Hz, 320 Hz, 800 Hz, 2 kHz, 5 kHz, and 12.5 kHz), each providing a cut/boost of ±10 dB. The unit is proportional-Q design, meaning the width of the Q is dependent on the gain level. At small changes, the curves are wide and smooth. As gain increases, the Q becomes narrower. For example, a 1 dB boost would create a wide bell. Pushing the cut/boost to 10 dB results in a narrower filter.
An additional shared feature is a conspicuous red button labeled Crush, which adds harmonic saturation to the circuit. The stereo MQ-2 adds a one-knob compressor. One knob means the compressor is easy to use. The program-dependent design adapts the attack and release characteristics, altering the envelope as it controls the dynamic range. An Order button engages the compressor pre or post EQ.
The EQ circuit is precisely what most people need in a tracking situation. First, this is a no-fuss / get a good sound EQ. No frequency sweep, as each channel is fixed. No Q fiddling, since the gain takes care of that. If a frequency needs some love, the user has one job: Turn the Gain up or down. That's it. Reviewers love dumb statements like, "You can't really get a bad sound out of this." That's nonsense. What is true, however, is that the MQ-1 and MQ-2 are forgiving, especially at smaller gain values.
On drum overheads with large diaphragm condensers in an X-Y configuration six feet above the drummer, I pulled out some of the boxy 400 Hz with the 320 Hz band. A boost at 50 Hz gave the kick that stomach/chest moving power, and then I dialed back the gain. It's easy to overdo it. Boosting the 12.5 kHz band went from adding a little air to the sound of roofing nails in a food processor quickly, and I moved back towards zero there. From these adjustments, I could have used the room mics plus the snare and come away with a totally usable drum track. Slapping the MQ-2 across a rough mix made without effects was a challenge. The best moves were either a “breathe on the knob” small adjustment or a maxed 10 dB setting (usually for cuts). However, one track where the vocalist was overwhelmed by the piano was cleaned up considerably by boosting 2 kHz and cutting 800 Hz. Again, the Drawmers shine in tracking, but less so if precise high-Q filters or frequencies too far removed from the fixed options are needed.
I'm always suspicious of any “warming” circuits. But if you've used a Drawmer 1970 [Tape Op #137], you know this is very useful. Enabled via a conspicuous red button (in both the MQ-1 and MQ-2), Crush adds harmonics to the output. Additionally, the Crush effect intensifies as more frequencies are boosted. In terms of sound, it is immediately apparent when enabled. In some ways, it reminded me of the loudness button on old stereo receivers. The bottom octaves seem to step forward. I found that it’s easy to overdo this effect. But I also stumbled on some interesting applications. Pulling up a full mix, it wasn't as if Crush in or out was better; it was just different. I dialed the EQ fixes on a sparsely-arranged guitar, vocal, drum, and cello piece, then toggled Crush on/off. Enabled, Crush transformed the track into something that sounded like it was tracked on tape, covered in that controlled blur of a finished track, and helped the mids poke – but not blast – through the song. Obviously, this was wonderful. However, bypassing felt less full and round, but each element snapped into focus. Sounds were clear and almost hi-fi. I could better place the location of each track in the stereo field. Yet, it wasn't as full and round as the Crush version. Again, both options were useful, but only one was right for that particular recording. It's a good thing that this is the producer's problem to sort out. Crush was very useful on acoustic guitar, voiceover, and, oddly enough, snare played with brushes for a jazz piece.
The MQ-2’s compressor is handy, but mostly in light amounts, like catching occasional overs or a slight single meter light of gain reduction. It starts pumping and breathing easily, so proceed with caution. However, I appreciated the compressor when tracking drum overheads. Set to catch only the stray spikes, the compressor left almost no fingerprint but did clamp down on a handful of places that might have otherwise ruined the take.
Designed and built in the UK, Drawmer has a history of making high-quality products for stage and studio. Open any of their products to see what I mean: Name-brand components, pristine build quality, and PC board layouts reflective of their engineers’ skill and experience. For recordists in the market for an EQ for a recording chain, the MQ-1 and MQ-2 can operate in a clean, high-fidelity capacity or approach tube territory with the Crush option. If you don't have a tracking EQ, you owe it to yourself to get at least one. If so, the Drawmers need to be on your shortlist.
($369, $565 MAP; drawmer.com)
-Garrett Haines