Both the EMX7 and EMX5 are equipped with four mono input channels and four mono/stereo input channels, allowing up to 8 microphones, and line-level devices such as keyboards and portable playback device to be connected to each channel. In addition, channel 4 can be used with Hi-Z inputs to connect instruments such as guitars or basses directly. Each model is also equipped with 2 AUX SEND connections for a monitoring system or external effect devices, REC OUT unbalanced RCA pin output jacks to connect an external recorder, and STEREO OUT TRS phone jacks to output the mixed stereo signal.
You’ve heard the Maag Audio EQ4 on the vocals of artists ranging from Madonna to Celine Dion, and from the Black Eyed Peas to Snoop Dogg. Now you can have this legendary EQ right inside your DAW.
The Maag Audio EQ4’s unique design allows for exceptionally low phase shift across all EQ adjustments, which helps maintain the integrity of your mix’s original sound while enhancing the “Airy” frequencies. The AIR BAND® interacts with the 5 band pass EQs to tonally sculpt your tracks from top to bottom with unrivaled transparency and top end presence.
The Maag Audio EQ4 is a musical EQ, not a surgical EQ, making it ideal for sweetening tracks. Add it to your vocal tracks to hear why top audio engineers who have access to every EQ ever made demand the EQ4 for vocals.
The plugin version also includes the new LEVEL TRIM feature, which can be used to turn down the overall gain if needed. Detent controls allow for easily recallable settings, and you can ALT/click to toggle between a reset for each band and the last status, which lets you easily bypass individual bands.
Download the full function 14-day demo (no dongle required!) today and hear for yourself how adding a little “Air” to your tracks can bring your mixes to the next level.
Consider guitar, piano, and voice—all of which overlap in several ranges. To make a voice stand out, boost the highs somewhat (try a high-frequency shelving filter boost starting around 2kHz) so it rides above the more “midrange-y” piano and guitar. Now, decide whether the guitar or piano will own the lower midrange, and let the other instrument own the upper midrange. For example, cut the piano a bit at 500Hz and boost around to emphasize the upper mids, while boosting guitar around 400Hz and cutting at around 2kHz to emphasize the lower mids. Now the three instruments will sit in their own distinct ranges.