How To Mix Live Music Chapter 13 - EQ for Vocal Mics — Transcript

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1. 0:07Here we are again, for part 13 in our series of “How to Mix Live Music”.
2. 0:12This time, we are going to be EQ-ing vocal mics.
3. 0:16The human voice is so versatile and varied amongst male and female,
4. 0:21that you might think each style will need different treatment,
5. 0:26but actually there are just a few basic principles to be applied.
6. 0:31And remember for a live performance,
7. 0:33most singers should be using a dynamic cardioid microphone.
8. 0:39You know what’s coming first?
9. 0:42Reach for the High Pass Filter!
10. 0:45On the TF mixer, you can raise its frequency
11. 0:49to about 125 Hz for male vocals, or 200 Hz for females.
12. 0:57If using an MGP mixer, I would always reduce the low shelf by 3 to 6 dB.
13. 1:04This is particularly important
14. 1:06if the microphone is being held very close to the mouth.
15. 1:11And here’s a trick for TF users:
16. 1:14convert the low shelf into a peaking band,
17. 1:20and center it around 80 Hz.
18. 1:23Give it a Q factor of about 5, then reduce it by 6 dB or so.
19. 1:30That will eliminate any problem with explosive “P” and “B” sounds.
20. 1:36Next, listen if the vocal mic
21. 1:39is picking up a lot of cymbal sounds from a near-by drum kit.
22. 1:43If so, reduce the high shelf a little to compensate.
23. 1:51Next, we need to be ready to deal with any feedback.
24. 1:55It is often the vocal mics that cause problems,
25. 1:58as the singers might need high levels in their stage monitors.
26. 2:03Hopefully you’ve already positioned the speakers and mic stands carefully,
27. 2:07and used a graphic EQ
28. 2:09to eliminate the problem frequencies from the speakers.
29. 2:13However, if the singers move around, a squeal of feedback can be created.
30. 2:20So be prepared, and try moving about with the vocal mic before sound-check.
31. 2:26If there are certain frequencies that start to feedback,
32. 2:29reduce them with a mid-band EQ.
33. 2:33TF mixers have an advantage here
34. 2:35with their 2 mid bands and the frequency analysis shown on the screen:
35. 2:41you can see the feedback when it occurs!
36. 2:44Use a Q value of between 5 and 10 to fight the feedback,
37. 2:49without disturbing the character of the sound too much.
38. 2:53Due to the risk of feedback,
39. 2:55I am not even going to suggest any EQ boosting: only cutting!
40. 3:02If there is too much sibilance in the sound, with emphasized “S” sounds,
41. 3:07and try reducing the mid band around 5 to 6 kHz.
42. 3:15If the voice sounds too shrill, reduce around 2 kHz.
43. 3:21If it's too nasal, try reducing around 1 kHz.
44. 3:28If it sounds too muffled, reduce around 400 Hz.
45. 3:35I strongly recommend to every mixing desk operator
46. 3:39to find time, plug in a vocal mic and some headphones,
47. 3:44and adjust EQ for your own voice.
48. 3:48Become familiar with how the sound changes
49. 3:51as you adjust each Gain and Frequency.
50. 3:55The words “One Two” are often used by sound engineers,
51. 4:00as they contain a broad range of frequencies.
52. 4:04“Kiss” is a good word for testing sibilance,
53. 4:08and “Plump” or “Bump” for testing those 80 Hz plosives.
54. 4:16If there are several singers working together,
55. 4:18don’t necessarily try to make them all sound the same!
56. 4:23Use the EQ to reduce any harsh qualities
57. 4:26which are emphasized by the microphones,
58. 4:29and let the natural beauty of each voice be heard.
59. 4:33Lead singers will probably want their lyrics to be understood:
60. 4:37so reduce frequencies other than 2 to 3 kHz to preserve intelligibility.
61. 4:46Backing singers however,
62. 4:48may need the effect of their consonants to be reduced,
63. 4:51so they don’t mask the lead singer.
64. 4:54In that case, try reducing 2 to 3 kHz a little.
65. 5:01Try to hear the difference between these two clips.
66. 5:04One with the mid band reduced at 1 kHz, and the other at about 2.5 kHz.
67. 5:39Finally, the best help for getting a good vocal sound is
68. 5:44good mic technique from the performer!
69. 5:48Watch an experienced singer,
70. 5:49and they will instinctively move the mic further away from their mouth
71. 5:53when they sing harsh consonants and belt out some extra high notes.
72. 5:59That is very helpful for a sound engineer!
73. 6:02On the other hand, here are some less helpful habits:
74. 6:06Cupping the head of the mic will muffle the sound for example.
75. 6:10Holding the mic so it touches the lips will emphasize the lower frequencies,
76. 6:16Holding the mic too far away
77. 6:18will increase the sounds from the other instruments on stage,
78. 6:21and increase the risk of feedback.
79. 6:26Putting a hand over the mic will increase the chance of feedback,
80. 6:29as the hand reflects more sound back into the mic head!
81. 6:35Be ready to react to all these occurrences.
82. 6:39A quick gain reduction of the mid band,
83. 6:42and a change of mid frequency can be enough to compensate,
84. 6:46without drastically changing the sound level or character.
85. 6:51Regular adjustment might be necessary throughout a show,
86. 6:55as the singer moves around, gets tired,
87. 6:58or gains confidence to reach some extra high notes!
88. 7:02Well, thanks for joining me for this session.
89. 7:06We have now EQ’d the whole band.
90. 7:09In the next session, we’re going to be adjusting pan.
91. 7:13It’s a very creative tool in studios and cinema,
92. 7:17but what can we do with it live, when the audience is so spread out?
93. 7:23See you soon!