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[Simon Sharp]

Hi Steve, no we dont, we do own a behringer stereo gaphic, i screwed around with it once and the PA sounded too bad so i havent perserveered.  Yeah angling the mics is worth trying.  I thought if there was a gate on the vocal mic then it may stop picking up the kick drum, not sure how they affect singer when talking etc though thanks

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[David Morison]

Hi Steve, no we dont, we do own a behringer stereo gaphic, i screwed around with it once and the PA sounded too bad so i havent perserveered.  Yeah angling the mics is worth trying.  I thought if there was a gate on the vocal mic then it may stop picking up the kick drum, not sure how they affect singer when talking etc though thanks

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The people suggesting gates were almost certainly thinking of applying them to the kick mic if you were using one, so that wouldn't help nearly as much on the vocal mics. In fact gating vocal mics may add more problems than you want to deal with.

If the mixer you're using has an HPF (High Pass Filter) on each channel , try engaging that - it will help the vocal mics pick up less low end which may clean things up enough for you. Failing that try turning down the bass EQ (tone control) on the vocal mic channels as far as you can get away with without completely sucking the tone out.
HTH,
David.

[Steve M Smith]

Hi Steve, no we dont, we do own a behringer stereo gaphic, i screwed around with it once and the PA sounded too bad so i havent perserveered.

Do a Google search for 'ringing out PA' and watch a couple of video tutorials or read about it.  When you have some spare time (i.e. not half an hour before the gig) try it out.
 
EDIT: Here is a good one to start with: http://www.techietalk.co.uk/articles/eq-pa/
 

Steve.

[Simon Sharp]

Thanks a lot guys.  Yeah the desk is an A&H mixwizard, and im sure it has HPFs on each channel so this may be worth a look, thanks again

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[Josh Millward]

Thanks a lot guys.  Yeah the desk is an A&H mixwizard, and im sure it has HPFs on each channel so this may be worth a look, thanks again

Yes, I think high pass filters on your microphone inputs will help considerably. You should probably be using them with the vocal microphones anyway to reduce handling noise and plosives from the vocalists blowing into the microphones.

I agree with David completely, first engage the high pass filters, then if necessary, turn down the low frequency tone controls as much as possible without making the mics sound overly thin.

Good luck! Please let us know how things work for you.

[Bill McIntosh]

Yes, I think high pass filters on your microphone inputs will help considerably. You should probably be using them with the vocal microphones anyway to reduce handling noise and plosives from the vocalists blowing into the microphones.

I agree with David completely, first engage the high pass filters, then if necessary, turn down the low frequency tone controls as much as possible without making the mics sound overly thin.

Good luck! Please let us know how things work for you.

+1

I use a MixWiz with a 5 piece cover band -- female lead singer (PGX24) and two male backup vocals (SM58 and Senn e835).  Setup is drum kit upstage center, bass cab just SR of kit, lead guitar & vocal SR, guitar/keys/vocal SL.  No low end feedback issues except when the lead singer stands in front of the sub LOL.

HPF engaged on channels except where there is actually LF content.  Vocals I also turn the low EQ down as well.  Lots of vocals in the wedges (using Alto TS112a).

[g'bye, Dick Rees]

+1

I use a MixWiz with a 5 piece cover band -- female lead singer (PGX24) and two male backup vocals (SM58 and Senn e835).  Setup is drum kit upstage center, bass cab just SR of kit, lead guitar & vocal SR, guitar/keys/vocal SL.  No low end feedback issues except when the lead singer stands in front of the sub LOL.

HPF engaged on channels except where there is actually LF content.  Vocals I also turn the low EQ down as well.  Lots of vocals in the wedges (using Alto TS112a).

Yup.  SOP for vocals on a Wiz is HPF engaged and channel strip LF -3.

[Simon Sharp]

Thanks guys, stoked with all the responses, got a gig Sat night and will give this a crack, thanks

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[Lee Douglas]

I'm surprised it hasn't already been said, but- even with all of the above, repeat this mantra over and over: "The loudest sound into microphone wins.  Always."  LPF will help to a degree, but if your offending instruments can't play at reasonable/appropriate level AND your vocalists are afraid of the mics and can't or won't properly sing into the microphones, it's going to be tough to solve your problem.  Mic technique will go a very long way in getting you there, I think.

[Simon Sharp]

Thanks Lee, the thing about it is the main problem is some low end that sounds like its about to take off, so hopefully atleast with the HPF on it will eliminate this problem

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