Hi,
I've just 'invested' in a 31 band graphic eq (Behringer FBQ3102 - somewhat reluctantly on the Behringer front, but it fitted by budget) to eq my Larrivee LV-09 with A2.2 with in live situations. It's due to arrive in a day or two.

I was wondering if anyone had any hot eq tips. I know Michael Hedges was fond of a boots at 63Hz (as am I). I thinking particuarly for fingerpicking solo, or with vocals, though I'm sure others would be interested in advice generally. Obviously it will depend on the venue, the guitar, the singer, etc, but some general tips based on others' experiences would be interesting.

BTW, I tend to find - despite B-Band's claims - the UST unusably dark and quacky, so I pretty much just use the AST with a hint of UST; I may add a mic to the live setup.

Thanks!

Dan

Hi Dan,

With 31 bands of EQ and 2 modes, +or- 6db or +or- 12db, you have lots of influence over the sound. Below are a few tips that should get you started.

1) Keep the EQ in the 6db mode. Under most circumstances you shouldn't have to adjust more than 4db one way or the other. If you find you need to go further than that there is probably something wrong with your signal chain.

2) A graphical EQ is not a surgically precise tool. Each move of a fader will have an effect on the corresponding frequency band, and it will also have a slight effect on the adjacent bands.

3) I subscribe to the "subtractive" school of EQ. Simply put this means that you try only to cut the frequencies that are causing the problem, not boosting all other frequencies to compensate. To put this in terms that most band members can appreciate, it is better for the bass player to be less loud than to have everyone try to turn up to cover him.

4) I like to cut all controls below 63Hz drastically.

5) 80 to 120Hz is also a danger zone for low end rumble so be prepared to cut a bit there as well.

6) The frequency range between 1~1.6Khz can be cut a little to get rid of the famous piezo "quack".

7) You can add a db or two in the 4~6Khz range to add a little sparkle.

8) Getting good EQ is 50% art, 50% science and 50% voodoo. Take a little help from each discipline to get the best results.

The above is only a very general rough guide as to where to begin to find trouble spots. If you can arrive at your gig nice and early it's a good idea to experiment a bit.

Thanks Ron,

All good advice that fits with what I've learned from studio engineering.

On a slightly different tip - the sound when soundchecking is always different from the sound of a full room. Apart from playing even worse than normal in an attempt to empty the room and return it to the desired sound, any tips on compensating in advance for the effect of people. I assume (perhaps wrongly) that they'd absorb a bunch of high's and mid, and also remove some of the natural reverb of the venue. So presumable you should eq a little bass light and with extra reverb. Somehow I know it's not going to be that simple!!!!

Dan

Quote from: mrrinse on November 28, 2005, 02:26:09 PM
Thanks Ron,

All good advice that fits with what I've learned from studio engineering.

On a slightly different tip - the sound when soundchecking is always different from the sound of a full room. Apart from playing even worse than normal in an attempt to empty the room and return it to the desired sound, any tips on compensating in advance for the effect of people. I assume (perhaps wrongly) that they'd absorb a bunch of high's and mid, and also remove some of the natural reverb of the venue. So presumable you should eq a little bass light and with extra reverb. Somehow I know it's not going to be that simple!!!!

Dan

Dan,

Actually, it's very simple. There is even a formula to help in the adjustment:

where, the shape of the smiley face EQ curve =

cube of room x years of experience + size of audience x cost of admission
        noise of bar staff x (hours since happy hour - hours until closing)     

Seriously, I always expect that there will need to be a little fine tuning after the show starts. The amount really depends on the type of room, size of crowd and how much you are personally affected by the adrenalin rush.

People and soft seats do soak up the high end a bit and help to cut down on reflections. Where they are seated in relation to the size of the room, and the rooms reflectivity will change things, as well. There are so many variables that it is impossible to offer more than just generalizations on how to proceed. Experience in a lot of different spaces will eventually lead to a bit more intuitive approach.

One rule of thumb that I always try to follow, don't make it any louder than it has to be. I see a lot of people try to turn themselves up to solve problems when a lot of good would come from turning down.