Work smart
Digital parametric EQs are incredibly powerful and flexible, and in some cases are almost too tricky to handle. The opposite is true of many analogue EQs, and yet for many applications, even as plugin emulations, they still deliver the goods. The key to using them effectively is to appreciate their individual peculiarities, using the EQ choice itself as a ‘shortcut’ to achieving the desired result.
One good example is the proportional Q found in the API 550A and B. This inbuilt behaviour means that lower boosts provide more gentle (and hence musical) results, while larger gain boosts deliver more focus – particularly handy in getting a part to cut through a mix.
In some designs (for example the Helios Type 69), bell filter cuts exhibit narrower bandwidth than boosts – exactly what you want when notching out problem frequencies.
Some Neve and SSL shelving EQs (SSL G for example) are popular for overshoot. Here, the shelving shape introduces a small dip just before a boost or simply has a steeper slope, allowing more focused sweetening.
Some EQs (such as the Trident A-Range) exhibit obvious band interactions, even at zero gain.
Finally, with any analogue design that incorporates transformer coupling and valve amplification (Pultecs, for example), there will be subtle changes to frequency response just by inserting the processor, and driving the processor could easily lead to obvious harmonic distortions.
Armed with this knowledge, it’s possible to approach a modern DAW parametric as a blank canvas and ‘fake’ those classic designs…