Reply To: Ringing Out The Room – Channel or Overall PEQ?

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The “Centre room” mic (Only one of the many ways I attempted to sort this issue yesterday) was suggested by Dick Rees in his PDF.

1. Speakers with pattern control going as low as possible. Factors in play here are cost, size and weight.

Please feel free to explain this further. I own 2 X Yamaha MXR400 & 1 x Yamaha MXR800W with a total output of 1.6kw.

2. Proper processing of the speakers with DSP. Best bet would be manufacturers settings in either a proprietary black (or is it gray, I forget) box or loaded into an outboard DSP compatible with the processing required.

Again, please feel free to elaborate on what you mean here in laymans terms.

3. Proper placement of the speakers in the room with regard to focus on the audience area and avoidance of spill onto reflective surfaces such as walls and ceiling.

Speakers are always placed properly pointing into where the crowd will be and not angled towards walls (Although I do not have down angled mic stands, but am thinking of investing in some).

I notice in some of the videos on your website that the speakers are on either side of the stage

Where else do you suggest I put the speakers? Guests need to be able to see the band.

and what looks to be at least 6 feet behind the front line mics. The simplest way to improve your GBF/headroom is to get those speakers ahead of the mic line. If you can’t do that, you’ll have to accept diminished usable gain and very touchy issues with feedback.

I would NEVER put the speakers behind the mics in a live scenario, so I dont know what video you are talking about here?
Unless you mean our “Playing to backing track mimed promo video”?. This isnt live so the speakers have been arranged for aesthetics only.

I thought I was getting somewhere as I’d EQd out the worst frequencies with the first on stage vocal mic (AKG D5) with it sounding great AND loud, but then the second I turned on the second stage vocal mic (Sontronics STC-80) there were more frequency issues through this one.
So how is this “Tuning the room” it seems more to me like “Tuning each mic for feedback”?

As you say though I had probably had just reached maximum gain before feedback in the room.

Dick – Its worth pointing out that in your PDF you state
“Step 2. Set up your mic in the very middle of the room, point it straight up and raise it to 7 or 8 feet in the air. If this puts it within 3 feet of the ceiling, you’re in the wrong room”

I’m not sure if this PDF is aimed at HUGE venues, massive halls etc, but we dont all have the priveledge of being able to turn down work if the venue is on the small side.