Unless you plan on meeting riders for metal acts I wouldn't go with the OM-7. The OM-6 has about the same response but does not have the reduced output (intended to prevent or reduce input overload from screamers). The OM-5 is similar to the 6 but adds a presence peak. The problem with the 7 is mainly having to turn the input gain up on the board significantly more then you are used to with other mics. Not so bad if you have plenty of time to dial things in, but can be a PITA in what we call 'combat audio'.
An upside down smiley, and plenty of mid range in the vocals which may be where most of the feedback was coming from. In places where the end result will be unknown it's sometimes best to start with the EQ flat and with 0db gain. From that point you would mostly remove EQ where it matters most or bump the EQ where most needed. Smileys (or frowns) are not a good thing.
Actually the top of the frown was approximately flat with what amounted to low cut and high cut filters on the extreme highs and lows because I didn't anticipate any need for reproduction at the extremes of the audio spectrum. I wasn't boosting anything with the EQ. As it turns out, there was a flute in addition to the acoustic guitar on one song during the "acapella" act. I haven't checked my reference guide yet to see if flutes extend into the range I cut or not.
Also, when doing correction on mics, would a 15 band EQ be overkill vs. just using the 4 band channel strip EQ on my MixWizard? If not, I might pick up a 4 channel 15-band EQ for my rack.
Setting your GEQ to what you "imagine" is not generally a good idea. You need to use your ears and learn how to make adjustments to real-time conditions.If you're going to add "fine-tuning" EQ to a channel or sub-group, don't use GEQ. Use a 5 band fully parametric EQ. A Klark-Teknik DN410 is great. Either 5 x 2 channels or 10 x 1 switchable. You can also find Rane PEQ's for reasonable used, but the power supplies are kind of a PITA.Forget 15 band GEQ's. They're not worth the rack space.
I'm learning to tune via my ears little by little. I did that when adjusting the EQ for the monitors the day before the gig and surprised myself by how much better I made them sound. Still I think limiting the signal to the frequency range of what the content is seems prudent, don't you? It's the same concept basically as adding a gate to a microphone -- filtering out that which isn't part of the actual content. I should have toyed with the EQ pseudo high cut when I noticed the flute, but didn't think of it and really I didn't notice the flute sound as if it was lacking high end so I don't think cutting the highest octave affected it. At least it wasn't a piccolo. And thanks for the advice on PEQ vs. 15-band GEQ. I'll look into that.
Thanks again everyone. The gig was earlier today and in large part to information received here, it was the most successful yet. This is the 4th year I've done this gig and only my 8th live gig total. I bought equipment and have been learning "on the job" and it hasn't been pretty, but everyone is grateful to just have a professional system so I've been lucky. I ended up not using the monitors at all. The vocal group wasn't used to using them, so I suggested they not try to learn now and explained it could actually be a detriment and they agreed. With the spoken word stuff, I just didn't even offer it up. The biggest problem I had was the wireless lav mic for the presenter. I didn't think I was going to have any problem at all with it which is why I didn't even mention it earlier. Plus, it wasn't something where I had options.I set up an SM58 as a backup but we never had to go to that. I got a lot of feedback almost immediately with the AT freeway 700 lav mic, but it went away when I dialed it back. The audio level was a little lower than I wanted, but very comfortable to listen to nonetheless. My FOH booth was about 3/4 of the way back so I'm sure it was good coverage. I'm not sure why I was getting feedback. He was well behind the mains and no monitors were powered up. The only thing I can figure is, the room was more reflective than I thought. Ceiling was acoustic tile, side wall mostly curtain with some windows exposed. Concrete on other wall, hard lino floor but there was a full house so lots of bodies to absorb the audio. Mains were running through a dbx 231 with an upside down smiley to enhance vocals.
Page created in 0.17 seconds with 23 queries.