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| OPERATING TIPS
USING THE EQ CONTROLS
The HIGH, HIGH-MID, LOW-MID, and LOW
ЕО controls on
each input channel
have no effect ("flat response") when
centered. Turning the controls clockwise
boosts the fre-
quency response, while an anti-clockwise rotation from the
center position reduces frequency response. А full +15 dB
of filtering is available in each frequency range. The use of
ЕО controls on a monitor mixing console is quite different
from that of an auditorium or studio console. Two impor-
tant 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 ten independent mixes (twelve, if the AUX
channels are used for this purpose). А musician
may
desire his instrument or voice to stand out above the
other instruments; he may prefer
a homogeneous blend
of sounds, with nothing particularly prominent; or in spe-
cial circumstances may wish to hear only a few selected
instruments. In each case, judicious equalizing can help
to improve clarity in any balance of sounds.
. With
several
monitors
on
stage,
pointing
in various
· directions, feedback is 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 SYSTEM
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 lesson string noise on guitars, breath noise on
wind instruments, 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
accompaniment. It can also greatly reduce high-frequency
feedback.
HIGH-MID
The HIGH-MID control permits peaking type boost or cut by
+15 dB at the frequency determined
by the setting of the
HM FREO control. The range of this control is 400 Hz —
8 kHz. Boosting
at around
2.5 kHz —
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. The HIGH-MID EQ is ideal
for making any single instrument more prominent (a com-
mon
request from
performers
who
wish to hear them-
selves in their monitor) without increasing the overall level
and risking feedback.
12
LOW-MID
The LOW-MID control permits peaking type boost or cut by
+15 dB at the frequency determined by the setting of the LM
FREQ control. The range of this control is 80 Hz—1.6 kHz.
The fundamental notes of most instruments are within this
range. The 200 Hz—1 kHz frequency range is where the ear
is most sensitive to level change, so even a small amount of
boost or cut will provide a noticeable level change. Boost- `
ing at around 200 Hz can provide a warmer tone for bass
frequency instruments. Cutting frequencies in the 500 Hz —
1 kHz range can reduce the hornlike sound of some instru-
ments, thus reducing listener fatigue.
LOW
Operating below 100 Hz (shelving type +15 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
boomi-
ness, 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 permit high monitoring levels without dis-
tortion or system damage.
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