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Behringer DEQ1024 — оптимизация звуковой системы: советы по эквализации и настройке [8/12]

Behringer DEQ1024 [8/12] Equalizer in the monitor path

8 ULTRAGRAPH DIGITAL DEQ1024

After this editing, you have a basic setup; now, you can do some manual

ne-tuning, if necessary.

The following is true:

A linear response curve is not ideal for every application. For example,

whendealing with voice transmission, being able to understand the speaker is

the most important factor. Therefore, the response curve should drop away in the

bass range, since the voice can carry subsonic noise and oor rumble.

As a rule, extremely low and extremely high frequencies are transmitted much

weaker. It makes no sense to burden a small P.A. system with frequencies below

50 Hz; the only result in addition to the higher power consumption would most

likely be expensive repair costs.

◊ Always keep in mind where the physical limitations of your system are.

Upon setting up your system as accurately as possible to the desired response

curve, walk around the listening area so you can get an idea what your system

sounds like from various positions. Don’t forget to implement frequent pauses

and a various music selection into your program. You will get a better feeling

forthe transmission characteristic of your system as well as of the room/

auditorium itself.

◊ Achieving good EQ settings requires a lot of time and patience!

If extreme settings of your EQ are required in order to produce a useful

frequency response, this should be seen as an alarm sign that a serious

error or defect is present somewhere in your sound system, be it in

room acoustics or in your equipment.

An equalizer is no solution that can make up for a poor P.A. system, but it is an

extremely useful and eective sound tool for musical ne tuning. Fine tuning

often lets you create amazing results and improvements in acoustic penetration

and in the overall quality of your sound.

3.2 Equalizer in the monitor path

Basically, the on-stage volume level should be kept as low as possible, because:

1. it will be easier on your hearing,

2. there are less feedback problems, and

3. it’s easier to achieve a good front-of-house sound.

Often, the volume of the monitor speakers is raised as a concert goes on.

Usebreaks and pauses to reduce all monitor paths by about 3 dB. The musicians

will not or hardly hear that the volume has been reduced, because during a break

their hearing can relax a bit. This gives you valuable headroom in your system.

Extremely low frequencies are usually faded out completely to avoid a “muddy”

sound on stage caused by low-frequency feedback. Use the low-cut lter for this

purpose and set it up in such a way so that extremely deep feedback disappears,

creating a transparent-sounding monitor sound.

EUROPOWER EP1500

Aux sends

1 & 2

Outputs

L & R

EUROLIVE F1520 Floor monitors

ULTRAGRAPH DIGITAL DEQ1024

EURORACK UB2222FX-PRO

Fig. 3.2: The ULTRAGRAPH DIGITAL DEQ1024 in a monitor system

3.2.1 Priming a monitor system

Priming describes the process of detecting and suppressing feedback frequencies.

After placing and setting up your microphones and monitor speakers (including

ampliers), you should crank up the aux send controls on all the channels of your

mixing console needed for the monitor mix.

Now, activate the feedback detection system by pressing the FB INDICATOR

switch (4). The fader LEDs (11) indicate the intensity of the individual frequency

bands. Then, use the aux send master controls to increase the amplication on

your mixing console until you rst begin to notice feedback. Possible feedback

frequencies are now indicated on the fader LEDs that are lit up most brightly.

Frequency ranges that cause feedback can now be lowered by using the

respective EQ faders. Repeat this procedure to detect additional feedback

frequencies. After having worked on all critical frequencies, when you crank

up the aux send master control, you will be able to hear only negligible

multi- frequency feedback. Your monitor system has now achieved its

maximum volume.

Leave the other faders in the middle position as long as there is no need to

proceed with frequency correction (e.g. measuring with a real-time analyzer).

Now, adjust the desired stage volume, and you will have tons of available

headroom without causing feedback problems.

Behringer DEQ1024 — оптимизация звуковой системы: советы по эквализации и настройке [8/12]

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