We’ve all been taught that in order to get the most natural sounding recording, we should move the mic first if it doesn’t sound right, then change the mic if that doesn’t work. Most experienced engineers will only resort to EQ (at least more than a touch) as a last resort. But there is another way and it comes from legendary producer/engineer Ken Scott, one of the 5 original Beatles engineers, who’s worked with everyone from David Bowie to Elton John to the Rolling Stones to Supertramp, Kansas, Missing Persons, The Tubes and many, many more.

Ken always uses the exact same mics whenever he records, and he always EQs at exactly the same frequencies. After watching him work it occurred to me that he wasn’t EQing the instrument at all; he was EQing the mics.

The reason why I came to this conclusion is that he would get his sound, and often the instrument itself would change, but he’d hardly ever have to touch his EQ. Regardless of the instrument, it sounded great when he put the mic on it.

This is illustrated in Ken’s memoir Abbey Road To Ziggy Stardust in Chapter 22 when discussing the making of Devo’s Duty Now For The Future album. He says:

“I think we used three different drum kits on the album because we were after different drum sounds. We set up one kit, got the sounds for the songs on that, tore that down and put another one up. The thing with me is, because I’m such a creature of habit, I hardly had to change anything from kit to kit. I even used basically the same EQ, which I had to change very, very little for each kit. And as I always use the same frequencies it wasn’t quite as much of a headache as one might have expected. I’m a firm believer that the sound comes from the studio, not from what I do.”