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How To Mix Live Music Chapter 9 - EQ for Outputs — Transcript · YTtoTranscript

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How To Mix Live Music Chapter 9 - EQ for Outputs

Yamaha Global · 1,387 words · 7 min read · EN

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Below is the complete, readable transcript of How To Mix Live Music Chapter 9 - EQ for Outputs by Yamaha Global on YouTube. Read the full text, copy any part you need, or generate a transcript for any video with our free tool.

Thanks for joining me again, for chapter 9 in the series “How to Mix Live Music”. This time, we will be EQ-ing our outputs: that is, the speakers for the audience and for the performers on stage. If you get this right first, it's going to be easier to EQ all the input channels. Taking time to work on the outputs first

will save time when working on the inputs later! The sound you hear from a loud-speaker in a room will vary depending on its position and your position. It will also vary depending on the size and shape of the room, or the outside environment. You may need to compensate with EQ to obtain the best sound.

The TF3 digital mixer has a parametric EQ available on all its output channels: Stereo Masters, Aux and Matrix. This is really useful for such situations. However, the MGP32X doesn’t have any parametric EQ for its outputs. Though it does have a Graphic EQ available for the Stereo Master, which is found in its digital display section.

So, to partner with MGP32X mixers, I recommend to use powered speakers that have a choice of frequency curves available. Such as the Yamaha DXR range, with its “D-CONTOUR” function. Test which mode sounds best in the room. The MONITOR mode is useful, as it reduces low frequencies which otherwise would be boosted too much

due to the proximity of the speaker to the floor. The HPF, high pass filter, is useful in combination with a Sub-Woofer, to allow the low frequencies from the Sub to punch through effectively. To test the sound, play your favorite music tracks through the system, at the sound levels expected for the performance. Remember the gain structure we set up in chapter 6.

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If you are using a TF-series mixer, and you don’t have time to make such a sound check, then there are some useful output EQ presets you could try: select the output, open the EQ window, and press the Preset button. You can find settings for “Small Room”, ‘Large Room” and “Outside”. If you do have time to make your own adjustments, then here are some tips:

use the EQ mainly for gain reduction rather than boosting, to reduce the risk of feedback. If you think the sound needs more low frequency punch, rather than increasing the low EQ band, try reducing the high. If the vocal is not prominent enough, rather than increasing the mid frequencies, try reducing both low and high bands.

This task is all about getting a balanced sound. Play several different styles of track to check the sound and confirm your settings. Now we’re going to consider the use of a Graphic EQ. A traditional analog unit looks like this, with up to 31 short sliders, each one adjusting a different band of frequencies.

Both MGP and TF mixers have digital Graphic EQ available. The TF on all mono Aux outputs for stage monitors, and the Stereo Master. In hi-fi and car audio systems, the Graphic EQ has often been used for shaping the sound: it is more visual and intuitive than a parametric EQ. However, we are going to use the Graphic EQ in live sound

for reducing the chance of feedback squeals and howls. Let’s take a look at the TF first, because it's easier to use. Select the Stereo Master channel and open its Graphic EQ window. Then you can scroll from left to right to see all the 31 bands. It is so useful to see a spectrum analysis along the top,

which shows the signal level at each frequency. It can clearly show where feedback is occurring! Our aim now is to deliberately create audio feedback, and then eliminate it with the Graphic EQ. First, switch off the playback music and switch on the channels for the mics on stage, but we are keeping the stage monitor speakers off.

Push up the faders, to allow sound through the PA speakers. Then keep on raising the faders until some feedback squeal occurs. Then locate the frequency on the spectrum analyzer, and bring the Graphic EQ fader down about 5 dB. Each fader creates a narrow bell shaped curve, reducing the gain around its stated center frequency.

Raise the faders further to create feedback again. It could be at a different frequency, or it could be the same one again. Reduce the Graphic EQ band to make it safe. Do this several times, to catch the most dangerous frequencies for feedback. Another method is to raise each Graphic EQ band about +5, one band at a time.

If it doesn’t cause feedback, return it to zero point. If it does cause feedback, take it down to about -3 to -5. If you find more than six or seven feedback frequencies, it could mean the loudspeakers are too close to the microphones, so consider re-positioning them to a safer distance. Or the sound might just be too loud for the acoustics of the room!

Well, at least the presence of an audience later in the day will usually help to absorb and diffuse the sound a bit more to reduce the risk of feedback. Now let’s take a look at the MGP32X. On the Stereo Master channel, there are two choices for Graphic EQ type. 14-Band Graphic EQ is more suitable for shaping the sound character to suit the venue.

Use it if there is no problem with feedback. However, it is best to use “Flex-9 GEQ” to deal with feedback, because it has narrower frequency bands: there are 31 bands, of which any 9 can be adjusted. Here’s how to use it: Bring the faders up to the point where feedback is almost starting.

Then take a look at the Graphic EQ “SWEEP L/R” page on the screen. Dial in a 3 dB offset and scroll through the frequencies, spending a couple of seconds on each one. If a screech or howl is heard, reduce that band to -3 dB and press the OFFSET knob to set the level.

Then continue through all the frequencies. And repeat using an offset of +6 dB, cutting the feedback frequencies as you go, until you have either dealt with 9 bands, or reduced just a few of the most troublesome bands. Next, bring the master fader back down to a safe level, and switch on the stage monitors.

Unfortunately the MGP mixer doesn’t have any EQ facility on its Aux outputs: you would need some stand-alone Graphic EQ units for that. But TF-series consoles have Graphic EQ available. So let’s fight the feedback on stage, using the same method. Keeping the mics active, raise the output level of the Aux until feedback occurs.

Find the feedback frequency, and cut it a bit. Raise the level, find the next frequency, and so on. If you are short of time, you can set this up using one monitor speaker, then copy & paste the Graphic EQ settings to the other Aux channels, using the menu button on the bottom-right side of the touch-screen.

And remember TF series has an iPad app which lets you edit the Graphic EQ while walking around the stage! Now some musicians choose to use in-ear monitors on stage, and there is one big advantage: no feedback! But they will generally require an additional EQ to make a more pleasant sound for the performer.

Especially the singers, as they will hear their own voice partly amplified through the ear-phones and partly through vibrations from throat to ear. Thankfully, the TF has various presets for that too, on its Stereo Aux outputs. Select the channel, and recall the preset! Notice how these EQ curves have a couple of small peaks:

to increase low frequency punch, and to improve vocal clarity. You can increase or decrease their effect by using the TF console’s special “1-knob” “Intensity” mode. See the peaks grow or shrink as you adjust! We’ll talk more about mixing for in-ear monitors in a later episode. But after all that EQ-ing, we should have a good balanced sound at the outputs.

Now we’re ready to start applying EQ to all the input sources. Different instruments and voices require different techniques. In the next chapter, I’ll fill you in about EQ-ing drums! Join me again then!