Live Eqing

Kenny DNK

might not be in the right section, but thought I'd have the most knowledgeable in this area here.

I've played in 2-3 piece bands for years and usually done sound for the band. I've taken up learning music production since and have learned a good bit about eq'ing.

My question is, can you apply the same rules to the mix when doing it on a live setup.

For example, would you set the graphic eq on the master to zero first, then check your mic, roll off the low frequencies on the channel, same with guitars. I suppose backing track you would just leave at zero as you'd need the bottom end in the kick. Then once you've everything sounding half decent and clear, then you can boost/cut frequencies on you master graphic equaliser....

In my head anyway, this works in theory, havent tried it in practice yet though.

Is there anyone there that can put light on this??

Thanks

PaulBrewer

Theoretically yes - but the caveat being there's crosstalk/feedback to be factored into the equation- so while you might add loads of Sub to a kick recorded that may well feedback the PA.

Similarly one might like to add lots of top to the lead vocal , but does that now bring up the hi-hat/cymbals out front ?

PMI

Usually run a few good sounding tracks across the PA and look for problem frequencies in the room remembering that your not in a perfect room ever and frequencies can be attenuated or boosted the louder you go, so eq the PA as near to gig volume as your allowed

Then once that is done you know your not battling the room as well as the PA and the musicians, your starting with a clean sheet.

Then off you go eq'ing things as you go via each channel of the desk should they need it.

artvandulet

Dont forget monitors! If you have them you'll need a band of eq per monitor or monitor mix.

madtheory

I try to use the graphic mainly to get more gain before feedback, and only slightly for overall tone. Start with an analyser and pink noise, then tweak when all the mics are in position. Where possible I look at speaker positioning to see where the worst of the reflections are, and fire/ position away from them. Too much use of the graphic will cause wide variations in balance throughout the room, because you're trying to fix a time domain problem (room acoustics) in the frequency domain (the graphic).

PaulBrewer

Good Post Mad - your example is also the reason that EQing Studio monitors rarely gets the required results.

madtheory

I hope to someday invent inflatable bass traps for gigging/ touring, that fit in the boot of a car. Unfortunately the laws of physics don't currently allow it.

woodsdenis

madtheory wrote: »

I hope to someday invent inflatable bass traps for gigging/ touring, that fit in the boot of a car. Unfortunately the laws of physics don't currently allow it.

go for it mt, the Dragons Den awaits you:D

kfoltman

madtheory wrote: »

I hope to someday invent inflatable bass traps for gigging/ touring, that fit in the boot of a car. Unfortunately the laws of physics don't currently allow it.

Fizzy Instant Fiberglass?

off.the.walls

If ya think about it its kinda like this

graphic eq---for knocking out those annoying frequencies in the pa that are causing trouble

desk eq--for cutting or boosting some frequencies.

Personally i use them as two seperate entities.

madtheory

Graphic is for increasing gain before feedback. Get it right and there is no feedback during the gig. It's the mark of a good engineer.

Channel eq is to:
1. Make piezo pickup sound somewhat like an actual guitar.
2. Add top to SM58 on vocals.
3. Give the kick drum a bit of thump.

Anything else is probably not something you should be concerned about during sound check.