Why do you need GEQ for a channel? Learn to use the PEQ, also this morning i used one AKG 300C into 4 channels, I had better control because i was able to shift the PEQ on all 4 channels and roll off what was covered on the other three. Then use the compression SC and compress just that freq range for each channel. then grouped them into one DCA. PEQ allow a smoother transition on frequencies than the GEQ.

Glen Clark,
T112, iDR48
The Church At Covington Front Of House

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Originally posted by chasecaleb

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Originally posted by soundwaveprod

Would be very handy for vocal channels above and beyond the PEQ.

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If you’re talking about higher/lower frequencies, there’s a setting somewhere that lets you “unlock” the 4 PEQ bands so that each of them can be fully moved from 20-20khz. Not in front of my console right now, but I believe you press one of the soft keys to get to Mix Rack settings and it’s somewhere in there.

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Originally posted by tcacfoh

Why do you need GEQ for a channel? Learn to use the PEQ, also this morning i used one AKG 300C into 4 channels, I had better control because i was able to shift the PEQ on all 4 channels and roll off what was covered on the other three. Then use the compression SC and compress just that freq range for each channel. then grouped them into one DCA. PEQ allow a smoother transition on frequencies than the GEQ.

Glen Clark,
T112, iDR48
The Church At Covington Front Of House

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Smart, you’re using the high and low pass PEQ bands as pseudo crossovers to split the mic into low/low-mid/high-mid/high channels? Sounds pretty drastic though (not that I haven’t done equally creative things!), what were you micing?

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And how are you dealing with all that phase shift?

iDR-48, T-112, Mixpad
College

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Originally posted by tk2k

And how are you dealing with all that phase shift?

iDR-48, T-112, Mixpad
College

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Totally forgot about that! I just tried it out myself, unless I’m missing some sort of corrective magic the phase shift completely kills it.

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Originally posted by millst

I tend to agree, if you need more than a 4 band parametric with adjustable Q AND an sweeping high pass filter on an input channel, your doing it wrong and something is severely broken in your mixing.

I can’t think of a single scenario…. ever… where this would be a good idea and would result in something sounding good.

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I was going to say this too but didn’t. If you need more than that, or if you’re needing to cut/boost huge amounts anywhere, someone’s doing something very wrong. Use a different mic, aim the mic better, or the person on stage needs to learn to not suck. My problem is usually the last of those of course []

I’m a big fan of getting it right at the source and then doing just enough tweaking to allow everything to sit in the mix together without being changed drastically. It’s live sound reinforcement after all.