How do you set up a mixer's EQ?

[Johnno]

Our mixer (Soundcraft E12) has swept mids in its channel EQs with centre frequencies variable from 140 - 3000Hz. What should I set as a starting point for mixing the singing of some teenage boys? No other channels will be in use.

[gnomatron]

Set the gain for the swept EQ at 0 to start with, that's the important bit.

 

I like to try then turning the gain up or down a little (3-6dB) then sweeping the frequency knob through the whole range, and settling for what sounds good. I wouldn't say that's the greatest method but it kinda works.

 

Been a while since I did sound though, and a lot of folk will have their own preferences for how they do it. As you get more experienced you figure out your own preferences for where to set swept EQs for various instruments, vocal styles.

[Just Some Bloke]

Sorry to disagree with the previous poster but I've always done it (and taught it) this way:

 

1) Use your ears to find a frequency that is either missing (needs boosting) or annoying (needs cutting).

2) Turn the EQ cut/boost to full boost.

3) Sweep through the frequencies till you find the frequency you are looking for.

4) Turn the cut/boost back to 0

5) Now start to slowly cut or boost (as appropriate) the frequency you have found. You'll hear when you've gone too far, so go back a bit at that point until it sounds exactly the way you want it.

 

If you can't do #1 then don't touch the EQ as it must be fine as it is!

[david.elsbury]

I like to try then turning the gain up or down a little (3-6dB) then sweeping the frequency knob through the whole range, and settling for what sounds good. I wouldn't say that's the greatest method but it kinda works.

I do this but I find the most offending freqency and then wind the gain back I cut it.

 

Was taught (and I belive I have read in various books, including the Yamaha Sound Reinforcement Handbook) that cutting was preferable to boosting when dealing with EQ.

 

David

 

PS, get a hold of the Yamaha book if you can. Well worth a read.

[dbuckley]

And I'm with Mr Elsbury, and Yamaha (though I've not read the book) - cutting badness is far preferable to boosting anything, and when boost is required, then boosting past 3pm on the dial is a sure sign something is wrong.

 

Setting the boost up then sweeping is a good way to find the most offensive frequency to cut though, as it makes matters worse, which you can then make better...

[Trunker]

Leave everything at 12 o'clock ( 0 or centre) if you don't know. Also depends what type of building it is mind you. If it is a 'concrete wall' type room i.e. sports hall, then take the treble and mid away slightly.

[Modge]

I, as a lampe, can make eqing work JSB's way - a noise boy taught me it and when ever I find that some one inconsiderately put a sound desk in front of me it tends to be what I do. Now my playing of the "name that frequency" game is not good (Don't ask me to ring your monitors out if you like your hearing!), but I seem to be able to do it an have things sound better when I finished to when I started so I'd say it was a good technique for one who isn't in fact a sound engineer (and may be if you are, the heck I know!).

[Just Some Bloke]

If it is a 'concrete wall' type room i.e. sports hall, then take the treble and mid away slightly.

Personally I'd never look at a room and reach for the EQ before anyone even speaks into a mic or plays a track. I refer back to my first post in this thread: 1) LISTEN. Find out what's wrong. Is there anything missing or anything over-represented? You should mix with your ears not your eyes.

 

Maybe others have a different view.

[dbuckley]

JSB speaks the truth. Mixer EQ isn't to sort out the room, thats what the graphics are for. The idea is that the mixer mixes the band (or whatever) and despite venue changes, mixer settings should remain broadly similar venue to venue, whereas room eq will obviously differ.

[johnlinford]

I use a mix of the two techniques generally - I'll ring out a system and cut troublesome frequencies on the graphic.

 

On the parametric, during a sound-check I'll boost the gain on any sweepable control, and find the frequency it sounds weirdest at, then cut it a little. If you've got variable Q this can be really useful, as acoustics can vary significantly with temperature and humidity (especially with out-door theatres eg The Minack).

[Rob_Beech]

If it is a 'concrete wall' type room i.e. sports hall, then take the treble and mid away slightly.

 

As JSB says on this comment. It is not a good thing to do anything before you have listened. Rooms can be very deceiving at times. Your ears will always tell you when its right and wrong, the trick is making it right when your ears say its wrong.

 

Rob

[gnomatron]

I don't think the technique I mentioned is ideal, I've never been very good with identifying offending frequencies by ear. That seems to be one of the key skills to learn over time. It kinda works though.

 

I'm not sure about this though;

 

2) Turn the EQ cut/boost to full boost.

3) Sweep through the frequencies till you find the frequency you are looking for.

 

Surely that's quite prone to feedback?

 

I'd say as with most sound stuff there's not really one right way to do it, whatever works for you as long as it sounds good.

[Just Some Bloke]

2) Turn the EQ cut/boost to full boost.

3) Sweep through the frequencies till you find the frequency you are looking for.

 

Surely that's quite prone to feedback?

 

If you're looking for the frequency that's causing the problem than boosting it and causing feedback will find the problem for you very quickly!

 

To be fair, when I say "full boost" I wouldn't necessarily mean full if the mic were sitting on the edge of feedback, obviously.

[J Pearce]

Firstly, don't eq it at full pelt. A sensible idea would be to drop the fader by them max boost of your eq section. (Usually 12 or 15dB, but not always).

 

Secondly if I'm eq-ing while the whole bands at it, I usually check in headphones (both pfl'd and in the mix). This is partly because my headphones are the same headphones every gig, the room and system often change; and partly because it enables me to solo that channel.

 

That said, obviously check that the eq works for a good mix and not against the mix, and check how it sounds in the room.

 

Relating to my comment above about eq for a good mix, don't eq each source to sound good. EQ each source to take its place and part in the mix. Don't have too many things competing in the same frequency range.

[Trunker]

If it is a 'concrete wall' type room i.e. sports hall, then take the treble and mid away slightly.

 

As JSB says on this comment. It is not a good thing to do anything before you have listened. Rooms can be very deceiving at times. Your ears will always tell you when its right and wrong, the trick is making it right when your ears say its wrong.

 

Rob

 

I didn't mean just do it without listening, but going from experience this is 90% of the case with this type of room. Of course you must use your ears, but acoustic theory plays some part as well.