Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Stan Shields]

Understood, thanks Scott.
Maybe there's an interesting thread here:
If you were working alone, had semi-pro gear, parametric EQ, 1/3 octave Graphic, Compressor/limiter all controllable from an iPad, how would you approach getting the most from floor monitors used for vocals only? (also have RTA on an iPhone)
Is a limiter a helpful tool in this situation?
Anybody?

[Stephen Kirby]

What I've done with my Expression is use the parametrics on the output bus to tweak the monitors outdoors for as flat as I can get.  Then use the graphic on site in the combat world for any cuts cause by the room/stage.  Ideally I would have all of the same monitor, but I don't.  I do use the same ones for front, sidefill, and drums most of the time though.  So I have each monitor bus tuned for those boxes.  Pretty much the same as you would do with a DSP.

[Scott Wagner]

Understood, thanks Scott.
Maybe there's an interesting thread here:
If you were working alone, had semi-pro gear, parametric EQ, 1/3 octave Graphic, Compressor/limiter all controllable from an iPad, how would you approach getting the most from floor monitors used for vocals only? (also have RTA on an iPhone)
Is a limiter a helpful tool in this situation?
Anybody?

Set your stage (monitors and mics in their respective places) with all mics unmuted at a reasonable gain level (what you'd expect to see at show time). Then turn up each monitor one a time until they begin to feedback - look at your RTA app to see which frequency is feeding back. Then use your EQ (I'd use parametric) to cut that frequency - turn it down until it stops ringing. Then, increase gain some more until the next frequency feeds back & do the same thing. I usually do this 2-3 times. After that, move to the next monitor and repeat until they're all "rung out". Simple and effective.

Limiters are a good last resort to keep things from destroying themselves, but that's about it (different story if you're using IEMs). Personally, I feel compressors have no business in the monitors, but there are times when they help (BUT NEVER ON VOCAL CHANNELS). "Ringing them out" works great to increase GBF. Remember to do this process every time you deploy them, since small changes in distance to reflective things or microphones are going to change the problem frequencies.

[Stan Shields]

Set your stage (monitors and mics in their respective places) with all mics unmuted at a reasonable gain level (what you'd expect to see at show time). Then turn up each monitor one a time until they begin to feedback - look at your RTA app to see which frequency is feeding back. Then use your EQ (I'd use parametric) to cut that frequency - turn it down until it stops ringing. Then, increase gain some more until the next frequency feeds back & do the same thing. I usually do this 2-3 times. After that, move to the next monitor and repeat until they're all "rung out". Simple and effective.

Limiters are a good last resort to keep things from destroying themselves, but that's about it (different story if you're using IEMs). Personally, I feel compressors have no business in the monitors, but there are times when they help (BUT NEVER ON VOCAL CHANNELS). "Ringing them out" works great to increase GBF. Remember to do this process every time you deploy them, since small changes in distance to reflective things or microphones are going to change the problem frequencies.

Thanks for this Scott. I set up the monitors in a high-ceiling space that was as non-reflective as I could find (outside would have been better but I have neighbors :-). I used the two parametric filters, hi-pass filter and limiter on the Soundcraft ACS and dialed out the feedback following your advice. I found the limiter to be useful while doing this if only to save my hearing. I did this for the two types of monitors I own and saved each curve in an unused mix slot of the Soundcraft. This way, I can copy and paste this into whichever mix output is driving those specific monitors at a gig. I can use these settings as a starting point, hopefully saving some setup time. It's my "poor mans DSP". I have a few gigs coming up, we'll see if it helps.
Using the parametric this way frees up the 1/3 oct. graphic EQ to make further tweaks and deal with requests from singers to change the overall sound of the monitors..."too thin, too dark"...etc.

[ProSoundWeb Community]