HS Sound Tech looking for advice!

[Henning]

Hey I am a 17 year old Sound Tech at my local high school that just took over my schools sound department. Currently We are loading in our spring production and I've run into a major problem, I don't know what the hell I'm doing. I've spent the last 3 years learning from the former Department head, working on Dance company and community theater productions that rent out the space and yet I feel like I haven't learned what I need to know. I would go to my TD but hes working on a few other productions and has simply ignored all my requests for assistance (Primarily with EQ and patching). Can someone give me some basic EQ techniques (Pictures would be great as well) or tips for using an ILIVE-T112?

 

[carproelsofly]

In general, patching is like connecting a plumbing (or electrical) system - sound goes in, gets routed around (and modified), then comes back out. Mic -> mixer/processing -> amp -> speaker.

As far as patching into your console, you may need to try a few different ways to get the handles that you'll mix the show with laid out in the most efficient arrangement. Take a lot of notes, or create a spreadsheet where you can track where everything is plugged in. Don't be afraid to move it around if you think there might be a better set-up. Work toward making it as intuitive as possible FOR YOU. That could look very different from how I would set up my console. Think about where your hands will be when you are mixing, and which mics you'll need to touch most often. Think about who is on stage with whom - having those faders physically near each other on the console will make it easier to mix.

In the (input) EQ department, a quick search yielded this result, which, although geared toward a worship situation, seems to be pretty great at explaining a lot of big concepts:
http://www.behindthemixer.com/mixing-vocals-the-ultimate-guide-to-eqing-vocals/

Overall, as the article states, less is more, and removing is better than adding. If that article doesn't make sense to you, search something like "live sound mix EQ" for dozens more good options!)

For output or system EQ, if that is available in your space, put on a piece of music that you know well, that you think has great "sound". Take a picture of the current settings, then start moving the faders around. Did what you did make it better? Worse? Find a spectrum analysis app for your phone and look at what's coming out. Huge peaks? Huge dips? Does it sound better or worse when you smooth those out? Use some science and some art to figure out what works in your room!

HTH,
Jen

 

[gafftaper]

Great advice there from @carproelsofly

Don't forget to study the manual so you really know it forward and backwards.

watch all the videos you can find on youtube about the iLIve.

However in the end, the key is you need time on the mixer when the room is empty to just experiment and listen. There's a huge difference between being able to turn on a microphone and actually mixing. Mixing is an art which requires time, patience, and practice to hear what sounds good and to know how to make garbage sound clean. Get some music, a spectrum analysis app, and lock yourself in the theater for a few hours.

Moving this thread to the sound forum where more people will see it...

 

[TimmyP1955]

EQ? Ignore what there's not enough of - first listen for what there's too much of and tame it with EQ. With most things that are mic'd, there will be a huge bump centered at 200Hz owing to the proximity effect that most all mics have (http://www.padrick.net/LiveSound/Proximity.jpg). The second thing will usually be a hot spot in the upper mids or a 'honk' or 'splat' in the middle. Otherwise: http://www.padrick.net/LiveSound/Mixing.htm

 

[Jason M Wagner]

Check out this handy interactive chart:

http://www.independentrecording.net/irn/resources/freqchart/main_display.htm

Wags

 

[superuser2]

Every digital board has an analog board inside it (conceptually, not actually), with a bunch more stuff piled on. Your iLive is a high-end precision instrument, but it is entirely possible to mix a great-sounding musical on a $400 analog Mackie. Don't feel obligated to use features just because they're there. Use the subset of the iLive's features that you're comfortable with, and expand you comfort zone from there.

Use EQ to correct specific problems, or fulfill your specific artistic intentions. Don't feel like you need to just because it's there. For safety, most people would recommend engaging a high-pass filter on vocals, but other than that, feel free to leave it alone until (and unless) you have something you actually want to do with it.

 

[Max Warasila]

I will offer one tip for you in your particular situation - do not use compressors if you can avoid it. In a large theatrical environment, all of the omni patters on stage increase feedback greatly, and compressors will take away your gain before feedback very quickly if you're not careful.

 

[rwhealey]

I will offer one tip for you in your particular situation - do not use compressors if you can avoid it. In a large theatrical environment, all of the omni patters on stage increase feedback greatly, and compressors will take away your gain before feedback very quickly if you're not careful.

I disagree. Compression will always give you more gain before feedback because it reduces the level of feedback inducing peaks. Used incorrectly, however, you can run into the problem you are describing. A compressor that levels off the feedback inducing peaks will let you increase the gain of the rest of the signal, jamming it right up against the threshold of feedback. If you're not careful and increase the gain more than you reduced the peak levels, you will have worse feedback issues than if you don't use a compressor. The point of feedback will be a few dB higher, though. I always use light to moderate compression in musical theater but with systems that aren't tightly controlled and spew sound back onto the stage it can be difficult to see good results.

 

[Max Warasila]

I disagree. Compression will always give you more gain before feedback because it reduces the level of feedback inducing peaks. Used incorrectly, however, you can run into the problem you are describing. A compressor that levels off the feedback inducing peaks will let you increase the gain of the rest of the signal, jamming it right up against the threshold of feedback. If you're not careful and increase the gain more than you reduced the peak levels, you will have worse feedback issues than if you don't use a compressor. The point of feedback will be a few dB higher, though. I always use light to moderate compression in musical theater but with systems that aren't tightly controlled and spew sound back onto the stage it can be difficult to see good results.

Precisely why I suggested someone so new to audio avoiding it.

 

[Jason M Wagner]

Always play with every tool you have prior to putting it in a performance. Of course, some lessons are learned faster when screwing up a performance!