Discussion in 'Sound, Music, and Intercom' started by BallardSound, Jul 14, 2012.
What would be the best eq with the pzm's being almost directly under the speakers?
What is the PZM's pattern? What is the speaker's pattern and how is it aimed relative to the microphone? What equalization do you have available? And most importantly, what are your goals?
The most appropriate EQ is essentially going to be the one that works best for your particular situation and goals, but if you are primarily concerned with vocals and have a high pass/low cut filter on the corresponding mixer channel, you might start with enabling that.
Reading between the lines, I'm guessing you're getting feedback and want to know how to stop it?
The most likely issue is that your microphone and speakers are too close to each other, and getting an acceptable result by eq'ing it may not be possible.
A more detailed explanation of your situation would make it easier to help!
The mic is a Bartlett TM-125. the mics are placed along the curved portion of the front of the stage, the speakers are about 3 feet in front and 25 feet above the mics
If feedback is indeed your issue then distance is your friend. move the mics further away if you can. if this is not possible then figure out what the offending frequency is and notch that out of the EQ.
The other potential friend in terms of increasing gain before feedback is the pattern of both the speakers and microphones. Look at the patterns for your speakers and mics, then look at where the speakers and mics are in relation to one another. Are the patterns such that they speaker output in the direction of the microphone and the pickup by the microphone in the direction of the speaker minimize their interaction? Or might there be a lobe or other characteristics in the patterns that increases the direct sound from the speaker picked up by the microphone?
A potential enemy in terms of feedback is nearby reflecting surfaces. If there are surfaces anywhere from a few inches to several feet from either the microphone or speaker that could reflect sound from the speaker into the microphone then that can be a problem. With a boundary mic the floor should not be an issue, but walls near the mic or speaker or ceiling elements near the speaker could be a factor.
If the goal is to sound good rather than to address feedback, then only you can decide what sounds good to you with your system and situation. However, as I mentioned, assuming your mixer has such filters, then engaging the high pass/low cut filter on the vocal microphone channels of the mixer is often a good first step to increasing gain before feedback and eliminating some of the 'mud' that may exist in the sound.
A big problem is that the backs of the mics are pushed right up against the lip of the stage. The speakers might be the problem since we have surround sound and the surround right and left speakers are pointed a little toward the stage in order for all of the audience to hear.
Where you are looking for intelligibility and gain before feedback you would normally not have the stage floor mics routed to the surround speakers.
Solo the mics during a rehearsal. How much unwanted sound is there compared to what you want? I'm betting it's close. EQ (its going to take parametric EQ) to minimize the unwanted, then bring the mics up in the system and see what you have.
You're right normally we don't have them in the surrounds but there are some times when they are. Thanks for the input and advice it has been a great help.
Floor Mics. First time use.
My school just built a new performing arts center and we have the first musical coming up. So this is the first time we will use the floor mic. Any tips? What do you suggest for the high, low, mid, low mids, etc be set at? In begginers language. Thanks
Re: Floor Mics. First time use.
A quick search for PZM, PCC, and boundary microphone yielded these results:
There are many more...
Re: Floor Mics. First time use.
In beginners or advanced language, you set the equalization as works best for the application. There are many potential factors in what equalization may be appropriate. What microphones, where are they in relation to the speakers, what are the the speakers, how are they speakers and microphones arrayed and so on? Where are the microphones in relation to the sound you are trying to pick up, what are you trying to pick up, etc.? How does the sound system and room affect what the audience hears? What is your opinion on what sounds good? There are so many potential factors that could differ in each individual situation and even between different uses in the same venue.
A simple example, but if you are trying to pick up vocals or speech then you would usually want to engage the high pass/low cut filter for that channel on the mixer. But you might not want to do that if you're trying to pick up instruments or dancers' footsteps.
The bottom line is that if you have a specific issue you are trying to address then others may be able to help but in general you may just have to experiment with what works best for each situation.
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