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Thread: EQ dilemma

  1. #11
    mixer preamps get the same effect as a guitar amp, juz it sounds a lot crappier

    if the preamp is cheap and isnt made to amp that much, it will sound like crap.

    its juz an example that, you dont keep the sound by turning up the gain

    mayb ur micing too far away from the vocals, that would cause increased gain and higher eq levels, causing harshness, and then if u have low level speakers on top of that, and over gain, youll clip, causing more harshness

    the main thing is, fine tune to a sound, not a loudness level. Set it to the nice sound, and if its not loud enough, dont boost the eq or the gain, get bigger amps and speakers.

  2. #12
    While it's true that you don't want to go crazy with the eq-ing, how much you eq is going to be dependant on what it sounds like. The type of speakers that are used and the room itself will have an effect on the end result of what it sounds like. Ideally, when you get a new microphone, or speakers, etc... you want to get something that sounds close to what you're looking for before using any outboard gear to fine-tune it, as opposed to getting any old cheap mic/speaker and trying to fix it with eq.

    Bassred has the right idea in starting off without all the extra components. Each component can/will put its own flavor on the sound, which can make it harder to get the sound you want. Get it as close as you can to what you're looking for, and then flavor as necessary. You've also got the right idea in bypassing the channel eq and using the graphic channel for the vocal, as that will most likely give you more precise control.

    Unfortunately, I can't tell you what specific frequencies should be tweaked (in my opinion) because I haven't heard what it sounds like with your particular scenario. If your practice room is a small concrete room, I would eq it different than if it were a larger carpeted room. There isn't a fix-all that works best in every situation. Most of the engi's I know that are good with an eq got that way simply due to working with it long enough to start recognizing where the frequency is (or isn't) that they want changed; it just takes time and I still don't have it all figured out either... but I'm closer now than where I used to be.

    Something that can help you learn frequencies is to listen to one of your CDs you're familiar with on your home stereo or headphones, and then try to make your PA gear sound like that. I am not saying that you want it to sound like whatever your home stereo sounds like normally, but it's just an mimic-ing excercise so you start to recognize frequencies easier.
    Last edited by fstfwd74; 25th Aug 2007 at 20:24. Reason: additional info

  3. #13
    Inexperienced EQers are most often guilty of trying to "paint" the sound (and many pros do this too under the guise of enhancement, which is ok) to get what they imagine it should sound like, rather than use eq to correct the inadaquacies and shortcommings of the room and the electronics in order to faithfully reproduce the voice. These are the two extemes of eq style, in my opinion. Both are tools.

    In a recording studio both are easily recognized, and the latter style is usually prefered, with tastefull enhancement happenning in post production. Live, however is different, because eq now has the additional job (along with gain structure) of controlling feedback, which can make a mess real fast out of both styles. I'd go with what bassred says (11 aug) to start.

    I like what fstfwd74 says also, but I would add a quicker way to eartrain to tell the freq bands. Put on a CD that has a rich range of frequencies from top to bottom. Listen to it through your system flat (no eq, no outboard). Listen again with all the eq all the way to the cut side, and one at a time turn up each bandto almost all the way up, then back down, and so this untill you can recognize each band by ear. and match it, without looking, to the numbers. Now try it outside. "ahh, I hear a bird at 8k and a truck at 150hz with wheel noise at 600hz."(I also like to find my troublesome feedback-prone frequencies this way sometimes).

    This will make fstfwd74's mimic-ing approach a more productive excercize.

    I also recomend mastering grahic eq's before moving on to parametrics. You can use the same eartrianing approach there also.

    Once you can recognize a freq band that is too hi or too low just by listening, the next step is judging response curves, like steppes (which coot's settings indicate) and slopes (as rackdude indicates in his first responce). This involves yet onother set of eartraining exercizes.

    Next, a study of acoustics, harmonics, and phase issues is recomended to fully understand how to deal with feedback. This is really not as intense or complicated as it sounds. Most live sound oriented mags are rich in articles geared toward the lay-engineer
    'I think my intimate relationship with electronics started as a child when I was playing with a screwdriver and a wall plug, Doc, and...'

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