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13
USING THE EQ CONTROLS
The
HIGH,
MID
and
LOW
EQ controls
on
each
input
channel
have no effect ('flat response") when centered.
Turning
the
controls
clockwise
boosts
the
frequency
response, while an anti-clockwise rotation from the center
position reduces frequency
response. A full */—15 dB. of
filtering is available in each frequency range. The use of EQ
controls on a monitor mixing console is quite different than
a auditorium or studio console. Two important factors need
to be considered:
1. The particular needs of each performer are of course the
concern of the monitor mixing console operator. This unit
offers eight independent mixes (ten, if the AUX channels
are used for this purpose). A musician
may desire his
instrument or voice to stand out above the other instru-
ments; he may
prefer a homogeneous blend of sounds,
with nothing particularly prominent; or in special circum-
stances may wish to hear only a few selected instruments.
In each case, judicious equalizing can help to improve
clarity in any balance of sounds.
2. With several monitors on stage, pointing in various direc-
tions, feedback 15 always a concern, The careful use of
EQ, particularly
the MID
section, can help to reduce
peaks at the feedback frequency, and enable you to set
the overall
level higher without risk of feedback.
If
graphic equalizers are used (see SYSTEMS
EXAMPLES)
fine feedback control can be carried out on individual
monitors.
A few pointers on the individual EQ controls:
HIGH
The HIGH EQ control adjusts frequency response above 10
kHz (Shelving type, +15 dB). Boosting this control adds
more
"edge" or "bite" to string instruments,
and more
"attack" to percussion sounds. Reducing high EQ can assist
in removing unwanted
sibilance (lisping) from vocals, and
lessen string noise on guitars, breath noise on wind instru-
ments, and general hiss in the system. High EQ cut can make
a performer sound further away, particularly if used with
reverb, and help his sound to blend in with the accompani-
ment. It can also greatly reduce high-frequency feedback.
MID
The MID control permits peaking type boost or cut by 515
dB at the frequency determined by the setting of the MID
FREQ control. The range of this control is 350 Hz — 5 kHz.
Boosting mid-range (especially at around 2.5 or 3 kHz) can
greatly increase the "presence" of a sound. On vocals, this
will make the singer "stand out" from the backing, almost as
if they were closer to the listener. This control is ideal for
making any single instrument more prominent (a common
request from performers who wish to hear themselves in their
monitor) without increasing the overall level and risking feed-
back. Cutting the mid-frequencies has the opposite effect —
the sound will seem to recede and become "thinner", This
can help to reduce the power of the instrumental backing,
should a vocalist desire this.
LOW
Operating below 100 Hz (shelving type 515 dB), the LOW
control can add more "fullness" to vocals, guitars, and key-
boards, and give a more
"mellow" quality to horns and
woodwinds. Cutting low frequencies can remove boominess,
reduce excessive energy from drums, and decrease AC mains
hum
and
stage
rumble.
When
using
compact
monitor
speakers that are unable to handle powerful bass frequencies,
reducing the low EQ response on certain instruments can per-
mit high monitoring
levels without
distortion
or system
damage.
|
HIGH PASS FILTERS
The high pass filters incorporated into each master output
can also assist greatly in the reduction of bass boominess, and
protect your monitor speakers. The use of these filters will
give a clearer, brighter tone to the monitor mixes, which is
often highly desirable, particularly in large reverberant halls
or outdoor concerts where extraneous noise and wind can
make monitoring difficult.
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