These audio examples accompany the review of the Ocean Audio 500-series modules which appeared in SOS July 2013.
This example is a vocal track recorded with a fairly neutral-sounding Neumann KM184 small-diaphragm condenser microphone through the Ocean Audio preamp. The second version makes use of the built-in high-pass filter of the preamp, and the two last files bring the Ocean Audio 500 EQ into play. For a start, a low-mid shelf adds weight, warmth and body to the signal, and then another shelf at 15kHz brings out the air.
02: Low-cut at 100Hz
03: Low-cut at 100Hz, boost at 280Hz (shelf)
04: Low-cut at 100Hz, boost at 280Hz (shelf), boost at 15kHz (shelf)
The 500 EQ is capable of some serious frequency sculpting across the entire spectrum. In this case, it enhances both the fundamental notes and the upper mid-range, with boosts at 120Hz and 3.5kHz.
02: Boost at 120Hz and 3.5kHz
Every now and then, mix engineers have to deal with less than stellar recordings — a pretty challenging task at times! In this example, the Ocean Audio 500 EQ comes to the rescue of a thin and lifeless bass-drum sound. A healthy boost at 40Hz brings out all the bottom energy required in a modern production, a cut at 2.5kHz cures an aggressive resonance, and another boost at 10kHz enhances clarity.
02: Boost at 40Hz, cut at 2.5kHz, boost at 10kHz
This drum group is fed through the Ocean Audio I/P and O/P modules, which together form a 500-series summing mixer. As the second pass shows, the entire system sounds very clear and pristine. However, the two-band Baxandall-type filter in the I/P module offers ample tone-sculpting capabilities, enabling me to achieve a full and tight low end and all the sizzle the cymbals require.
02: Fed through I/P and O/P
03: Fed through I/P and O/P, boost at 80Hz
03: Fed through I/P and O/P, boost at 80Hz and 12kHz.