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.