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[Marcus Wilson]

Hi everyone,

This is my first post on this forum, so I'll start with a little introduction. My name is Menno from Holland and I'm the owner of a small sound company. I work with Allen Heath iLive systems over DANTE audio network which enables me to do a lot with the sound and record directly from the inputs of the digital stage box.
Because of the technological advancement over the years, it has become much easier to achieve studio quality results and effects on stage. That is why I am doing a small survey for my school on the use of frequencies by studio & live engineers and see if there is much of a difference between them and I hope you will participate by telling me how you use the HP/LP filters and turn the EQ knobs on your mixer to mix a generic rock band with drums, bass, guitar, piano, brass and vocals.
E.g. if I was to mix this band, for guitars I usually use a hi pass filter on 200 Hz and the energy of the instrument is around 600 Hz so my "sweet spot" is between 200 and 800 Hz.

Where do you mix the energy on the following instruments if you'd mix this band on a festival?

kickdrum   between ... Hz and ... Hz
kickdrum click   between ... Hz and ... Hz
snaredrum   between ... Hz and ... Hz
toms   between ... Hz and ... Hz
guitars   between ... Hz and ... Hz
piano   between ... Hz and ... Hz
brass   between ... Hz and ... Hz

thank you for your time!

Audio cannot be distilled into a set of formulae.   There are millions of variables involved.

I'ts like asking about kissing.  How hard do you push and how far open sould your mouth be?  The table would look like this:
girlfriend  pressure ... Kg and opening ... cm
sister  pressure ... Kg and opening ... cm
boyfriend  pressure ... Kg and opening ... cm
dog  pressure ... Kg and opening ... cm
etc.....


My only answer would be 'I figure it out at the moment I turn the knob', the human brain is excellent at instant estimations.  You wouldn't be telling someone where the best place to put their hands when catching a ball, now would you?  How do you learn to catch a ball?  PRACTICE.  The best thing you can do is teach people how to listen.  Once they know how to do that, how do they become a good mix engineer?  PRACTICE.

I would rather train a musician how to use the gear than attempt to train a technical whiz how to listen to music.

[Ivan Beaver]

I would rather train a musician how to use the gear than attempt to train a technical whiz how to listen to music.

Agreed.  It is one thing to teach somebody how something works, but if they don't have an ear-then it is like teaching a pig to sing.

If a person can't hear that a vocal sounds like he is in a can-then all the knowledge is not going to help them.

Having an ear is one of the most important things a sound person can have.

[Tim Tyler]

A chart with some value in this discussion...

http://www.independentrecording.net/irn/resources/freqchart/main_display.htm

-Tim T

[Hayden J. Nebus]

You mean you just can't recall the eq presets that Yamaha gives you and it all work properly?  HA-HA

If that was the case-then why do they have so many different kick-snare-male and female vocal settings?  If the same setting was to be used for everything.

I am waiting for a real "auto" mixer that has a SINGLE knob.  Turn it to the right and it gets louder-left and it gets quieter.  And all the inputs automatically get eq'd, preocessed-mixed etc.

I heard that those eq presets were made by a room full of monkeys beating a random number generator with sticks.

[Ivan Beaver]

I heard that those eq presets were made by a room full of monkeys beating a random number generator with sticks.

That's about what they are worth.

I wish they didn't waste the memory on those.

[Marty McCann]

I coined a new phrase:

The Keys To The Kingdom Are Not Under The Doormat.

[ProSoundWeb Community]