Print

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

[Bob Leonard]

Blake...

There's been a bit of confusion of terms here.  "System EQ" is not generally done with a GEQ, but rather, involves using the PEQ (and in some cases alignment delay) as well as setting the drive levels for the various boxes in the system such as subs/tops or any bi- or tri- amped boxes.  All this is generally done with a DSP.

You  can then use your GEQ for overall tone sculpting of your mix.

So really there are two different things her:

1.  System tuning with DSP...remaining constant from venue to venue and...

2.   Mains EQ using a 31 band GEQ...adjusted to taste for the venue/mix du jour.

Exactly, and to simplify further the OP doesn't have a DSP as far as I know (drive rack, etc.) that has an EQ he can use for the system so he'll be using an EQ in line with the main outputs (L/R) in place of the DSP. In the OP's case it doesn't matter if the EQ is a PEQ or GEQ, what matters is what Dick and I are saying, set it and pretty much forget it.

[Mike Kirby]

That was my next question. What if you do not use a DSP or have any digital equipment?? I started out with crappy EQ's, xovers and compressors with roys, 45/60's, 2445 horns and ACT subs. Multi cores made from 20 strands of crappy mic cable, so you soon learn to improvise and adapt to get the end result you want. In cases like this all you have is desk-->EQ's--->compressors--->Xovers then straight to the amps, and when you are using and old peavey 1200 desk or a 2404 you dont have a lot of desk eq options so you tend to become creative with what you have

[Steve M Smith]

That was my next question..........

so you tend to become creative with what you have

You just answered your own question!


Steve.

[Scott Olewiler]

Nope.  Sorry, but it's overall system gain and it matters not where you get it regarding the threshold of feedback. 

You can run your pre's hot or cold, but you'll just end up running something else cold or hot to compensate.  Set your input gains properly such that the distance from the noise floor is as equal as possible at every device and point of adjusment in the signal chain.

So you're saying that if I have 2 indentical mics on 2 channels, one that has the pre-amp set at a reasonable level and the other is turned all the way up to where it's clipping with any input; that I can get the same overall GBF from both channels?  Same actual speaker output? The clipping channel will not feedback at a lower volume?   
 I will test that out myself.

[Steve M Smith]

Correct.  In much the same way as both 2x6 and 6x2 = 12.


Steve.

[Bob Burke]

  I'm very grateful for all the replies and advice. I realize now that I have been doing quite a bit wrong. I don't have a DSP, just a small analog mixer, a 31 band dbx GEQ, a QSC PLX1804 and a pair of Yammy 4115s.

  I was always under the impression (and had seen it stated often) that I should use the GEQ to ring out each room we played in. I still don't understand how setting my “system EQ” in my living room will translate to the VFW hall we've booked for New Years' Eve, or the outdoor deck we're playing this Sunday. I know it's a simple concept to you guys, but the logic of it is evading me.

 Another thing I've been doing wrong is setting my main masters at unity gain, then bringing up my channel strips. In future I will set my channel strips at unity, then bring up the masters, correct?

  You can't imagine how grateful I am for this advice. You guys are the best!


Regards,

Bob

p.s.

  The PR-12's on the floor are out of service now. I went to return them at Guitar Satan yesterday, and they found that the HF drivers were blown. Another thing I screwed up!

[Guy Luckert]

Small changes in mike and speaker placement can have big changes in gain before feedback.

listen !!

dont be afraid to turn down just a little and make music.

Good Luck

[Bob Burke]

Small changes in mike and speaker placement can have big changes in gain before feedback.

listen !!

dont be afraid to turn down just a little and make music.

Good Luck

  I'm aware of that Guy. In reality, we are usually set up in about as much space as the average drummer occupies. Not a lot of room for adjustments. As for "turning it down", we always play at low levels (hence the name - "90 dB").

  I'm not an expert at SR, but I have been playing music live for 48 years.


Regards,

Bob

[Bob Leonard]

Bob,
Don't just set the channel levels at unity and walk away. I'll keep this simple. Start by talking, yelling and singing into the mic and watch the channel strip meter for that mic. It's OK to go into the yellow at the loudest sound, but stay out of the red.

Screw the numbers and forget unity at this point, just get the channel gain correct. So remember, green and yellow are OK, red, red, go away. This can be done with the speakers off. Watch those meters once in a while during the night and reduce the channel gain if needed.

[Bob Burke]

Bob,
Don't just set the channel levels at unity and walk away. I'll keep this simple. Start by talking, yelling and singing into the mic and watch the channel strip meter for that mic. It's OK to go into the yellow at the loudest sound, but stay out of the red.

Screw the numbers and forget unity at this point, just get the channel gain correct. So remember, green and yellow are OK, red, red, go away. This can be done with the speakers off. Watch those meters once in a while during the night and reduce the channel gain if needed.

Thanks Bob. On my mixer I would engage the PFL on that channel, then set level by the main mix meters, right? The master R/L level fader is irrelevant at this point, right?

I know....RTFM! I have, I just can't retain the information like I used to!

[ProSoundWeb Community]