I've been a sound guy since 1989...starting out in clubs, on systems like Yorkville, old JBLs, SoundTech, BFI, Melhart, homemade stuff, etc... My first sound company job was with a former Showco guy, who had an old 70s Showco rig...called the "Hurler System"...that was actually Led Zeppelins PA. I was never allowed to even look at consoles and processing until I drove trucks, loaded in and out, learned to set up and wire the whole system, and make it work right, etc... If my boss ever caught me even staring at a console for a moment, he would yell at me..."Stop looking at that console...!". I learned how to pull shows in the shop. I was cleaning toilets, and taking out the trash. I was changing oil in the trucks. I was doing things like cleaning 250ft snake covered in cow poo, after it had come back from a rodeo arena. I learned to repair broken gear, and replace faulty casters on road cases. I got to a point where I could go from scrubbing the toilet, to taking a broken system and bring it back to full working order, and ready for the next show. Then one day, somewhere around the summer of 92'... I had set up a monitor rig for a Bootsy Collins show. There I was sitting on a road case after I had set everything up. My boss said "Hey, those monitors aren't going to mix themselves...". So there it was...my first time behind a console....mixing monitors for Bootsy. But you know what...it went surprisingly well, because I knew that entire rig, inside and out, literally. I knew how everything worked, and knew about any fussy pieces of gear. It was surprisingly easy to make it all sound right. Over the years, I've used all the gadgetry available. But most often I use my ears. I rarely look at anything once signal flow is established. I use a 58 to do most of the work. I own a small sound company now. I actually make my own cabinets (a once common thing, but a dying art). And I still do all the stuff the same way. I make sure I know every piece of gear inside and out. I've toured the nation and the world, mixed in front of hundreds of thousands of people...and I still do the speaker on a stick gig in the park, for a kids puppet show. It all works the same on a fundamental level. You're just scaling up and down depending on the gig. People these days miss so many fundamentals, and rely to heavily on everything but their own ears. I occasionally hire guys who love to talk about what consoles they've mixed on, and what shows they've done...but at the end of the day, they don't know much about the whole process. It's sad really. I see so many guys who can set up the network, program the consoles, set up analyzer gear, and make it all look pretty on a screen. But it still sounds like crap. Those analyzer mics are facing and listening to the PA, meanwhile behind FOH, it sounds like a jet aircraft taking off in your ear.
Scott: I just carefully read your publication on the subject of the video, in which I saw myself personally, practically in every sentence that denotes your effort and perseverance in a profession like the one we both have. For me, there is software and machinery capable of helping us. This is certainly welcome. But first and foremost is elementary knowledge about electroacoustics, which is the science that governs our work. After that, my acoustic perception is the reason they hire me to take care of a system. I do not completely hand over this task to sound analysis tools to the point of allowing the result of this analysis to influence this perception. Essentially, my goal is to deliver an acoustically coherent program to an audience, knowing full well that the majority of listeners don't even have the real ability to analyze the program being sent to them, which means that the spectrum still has to be wider. The effectiveness and rigor with which this is done depends - in my opinion - on the real knowledge of the person responsible for the sound system in the scope of the provision that is possible, with the means at his disposal. As a sound engineer, what I think is that I must always have my ears attentive to what is coming out of the sound system and never let myself be distracted by graphics on the control surfaces. Since the final result of the work is intended to be sent to people who only use their ears and consequently affect their emotions, I have always felt that my professional sound system tuning should be oriented in that direction. In other words, I perform this tuning based on what is supposed to happen in a generic way during the shows, with the awareness that I am proceeding in the right way so that everyone can clearly hear and feel the program that is being produced on a stage. . I wish you luck, health and lots of sound work. Macedo Pinto Portugal
This video makes perfect sense and is one of the best I have seen regarding system tuning. I haven’t been tuning my church’s sound system at all and have been searching long and hard for the best way to do it. (Smaart, drive rack PA) I found this to be eye opening...er...ear opening and relieving after looking at so many eq graphs and dollar signs. Going to start practice listening immediately.
I came to the same conclusions and I've been doing this method with great success for about 10 years now! you've really well articulated the logic behind it and unexpected benefits. I like the way you used the word "smooth" as a goal for your sound systems as opposed to "flat". I use the phrase "ear-friendly". I felt such an outlier compared to all the other techs I know (with their reference mics and Smaart but still not ear pleasing results imho).. it's very refreshing to come across this video!!
This video of yours is excellent, being clear and concise about what we should all keep in mind when making decisions regarding the tuning of professional sound systems. In my opinion, you can create more content of this type, as this can help everyone. I wish you health and continued good sound work. Macedo Pinto Portugal
I did the sound for a local blackened folk metal band a little while back. I worked a 30 year old analog console, in an old factory (concrete walls and steel beams), and since we got heavily delayed, I didn't have time to do a full sound check. I was pretty nervous about the quality of the sound, but for some reason, I got tons of positive feedback (not the microphone kind). Turns out, caffeine, nicotine, and stress, works wonders!
I used to EQ a system with a graphic by sliding each slider to max, then min, and settling it where it sounded right to me (playing back familiar music). I always got the system sounding really good this way, and took care of about 90% of potential feedback before I ever turned on a microphone. When my boss found out this is how I did it, he flipped his lid and said I needed to use an RTA because "that's how it's done." Thing is, he sold sound systems; he had little experience in actually operating them, and read about how people did things, and believed it was a rigid formula. Deviation from that formula, to him, made us look incompetent to the customer. (Customer doesn't care -- they just want it to sound good!)
I am a student from sri Lanka. I learned so many things about audio engineering from your channel. I like to learn about sound engineering as a hobby and like to mix outdoors. And the first time i listened to that eq practising method. What a good trick to practice eq with ears. Thanks for everything you teach to me and hope you will release good valuable contents in your channel straight in the future. ❤❤
Once again the UA-cam algorithm, picking up an amazing video 2 years later than its original upload. Subscribing 😊 Definitely going to be applying some of these techniques when I get my new sound systems or during soundchecks on loud PA systems :) Thanks for the awesome vid!
Back in the day before all this tuning gear was available or priced to the point that mere mortals might have it, everything was done by ear. The 400 hz and 2.5khz thing is probably the first thing you learn in doing live show sound. They are two areas that make things sound harsh and sort of hollow. Nobody likes it when you leave much of that stuff in the mix. Learning to move it from the strip EQ to the main mix EQ is a very big step towards getting a proper sound from the start. If you EQ a system for the FM curve to start with, you will always be starting at a pretty good point. Then you are just working for the room and the desires tonality appropriate for the act or event.
You are right on the mark. 400hz = boxey shitty boomey sound. 2.5khz will give people ear fatigue kind of like the never ending sound of a subliminal piece of chalk screeching on a blackboard or the gnawing annoying sound of a dental drill in your ear.
Im not a sound tech but when Iv been to shows almost always the sound is super peircing and harsh. When thinking of doing live shows as a musician Iv feared what my ears might go through tbh. I find PA systems are almost always way too loud, obnoxiously loud and unnecessary. Iv been to orchestras that are loud and normal, appeasing. But at certain rock shows it seems people have no idea the difference between audible and too loud. I then worry about inner ears because I assume ones gonna have to blast them directly into my eardrum to overcompensate for the volume. I haven’t experienced this yet so idk but all I can say is I almost never go to a show where the sound felt right accept for one show in a small venue in NY and actually PA now that I think of it . And then outdoor Venues mostly. But my impression has always been PA systems are harsh and nowhere near as musical Or sweet as my guitar amps at very loud volumes
I owe you one! I strongly agree with your ideas, and the video you made was really helpful to me as a beginner at sound industry. I hope that you'll create more videos and tutorials!
Very intelligent and entertaining piece. I've been a studio (and sometimes live) engineer for over 50 years.....so I've see the technology evolve. I cut my real engineering chops on a board that had NO EQ whatsoever, drawing on the wisdom and experience of my teacher, Mack Emerman who would not allow you to touch an EQ until you had exhausted every possibility of microphone selection and positioning. What I see in the curve windows of boards these days is horrifying.
Great video! Thanks. I have noticed exactly the same thing over the years how if I averaged out all of my EQ's I have so many similarities as well. I havent done it myself as I didnt want to add / remove from certain things. For instance I dont like putting EQ on acoustic and electric guitar if I can help it at all. I always try fix the source first. So on stage fiddling with the musicians EQ on his acoustic and 99.9% of the time it sounds just perfect. Just roll off the lows with a HPF. Same for electric, if there is a amp I listen to the source. If the source is good then I will play with mic position roll off the lows and 99% of the time you have an amazing sound. But watching your video makes me realize I should give it a try. It will also save the other engineers loads of time if the channels just "sound" good from scratch. Great video. Please post more!
Man, I'd like to chat. I've been doing this and hiding my technique for about 3 years. I'm a firm believer in quick responsive EQ, what feels good to the ear. I took it as I'm correcting the resonant peaks of the system and room, so I can correct the tonality and resonant peaks of the instruments and voices. I haven't had a legitimate loudness complaint in 3 years, and have gotten more compliments than I am comfortable handling lol. I now have a reference to why I do what I do. Thank so much for making the video.
Been doing live sound for 10 years and I literally do the same thing, never thought I would find someone that does the same. Never got loud complaints in a long while. But my dynamics are very well done.
@@stevengangaram2825 I’ve been in live sound for 16 years, but would always try and eq the room flat, until that revelation more than 3 years ago now, that I didn’t like it. I didn’t like it when I did it, even though it looked right. I didn’t like how it sounded when others had said they had eqd flat. Wild ride, but so glad I took it!
I’m 30+ years into sound and agree with both of you. I can’t stomach a “flattened” EQ. It sounds horrid. I play “hey 19” by Steely Dan when setting my EQ. If that sounds smooth, then the band will sound smooth. It also doesn’t annoy like pink noise does.
I love your philosophies because so much of it aligns with what I found doing sound at festivals for years. Yeah at express how nice it is to hear the attention to detail and subtlety and it's possible revelations for the concerned ear for sound coming from someone else. Subscribed
Great video. I usually use graphics on my LR and aux sends, and parametric EQs on any routed matrices. As of late, I've been running my subs on an aux, but sometimes I like to mix full range - depends on the band/system/room. The best advice I was given as monitor engineer: just go out and listen to the wedge! Always use your ears. My soundcheck songs: PYT (Michael Jackson), Woman In Chains (Tears for Fears), and I Like It (DeBarge.) Also, audio engineer friends: please be kind to your ears. Even if you don't think you mix loud, get used to mixing with ear plugs. I know it sucks, but your ears are your best tool. Protect them.
YES!! Finally someone who understands Fletcher & Munson is the way to go! Especially good if you’re tuning a system made for long listening (read night clubs and such). It’s much smoother for the ears and all the sharp and annoying frequencies tend to disappear. People have been discussing house curves for ages on the internet but this rarely comes up as a subject, which surprise me. Fun fact: I was tuning a couple of 2” compression drivers with big horns, oldschool you know, and Fletcher/Munson curve was the only way to make them sound natural and not honky. But when they where tuned right they sounded amazing. I’ve been to sooo many nightclubs with bad tuned systems, and we talk about systems like Void and Funktion One. My ears hurt when I have to listening to 110db of flat response, but not at all with the right tuning. I really hope this can be the new industry standard. And I know Harmann (JBL and so on…) for example have their own curve for headphones and such, very similar to Fletcher. They know their deal!
Yes give us a part 2! Can you do one for a home audience? You know, some of us might not be engineers but I just love trying to get great sound at home that takes me back to a gig or brings the most out of the music for enjoyment.
i am a bit late to this video but glad i watched it. ive been doing sound rental for 12 years for EDM on turbo/F1 boxes. The guy i learned everything from "The OHM GURU" would always tell me "tune from the heart" and would puund his chest. i am now learning the more technical side of things with mics and graphs and all that which is how i found your channel. thanks for the vids!
Devin I enjoyed this. A classical guitarist for 50 yrs. (but never neglected my strat or gibson.) I now audio recording at home using a fast HP desktop with my line6 pod HD pro rack mount fx as audio interface. As a musician, not a mixer, you have encouraged me go a little deeper to find the soundscape for a track or mix down. Or you could be my personal home studeo mixer : )
Thanks for that video! I do concerts at school, but only a few times a year and I would count myself to the category only some skills and only very little vision so thanks for giving me a perspective of where to go!
Heavens, good to see Nexo is still going strong. I spent a few days with Eric Vincenot at his manufacturing facility on the outskirts of Paris back in 1986. I recall he and I hiking a huge Nexo Integrated System 10ft in the air on a forklift in their car park and doing frequency tests. We also visited his compatriots E2A who made custom amps for Nexo. He also introduced me to some strikingly tall women with large hands - but that's Paris for you....
That was a wicked video. My ears are all knackered after lockdown from no work. I really like the eq game, thank you. I've picked up a Youngling to train, this'll help is both.
Great video! My method has always been to eq a room by using the same three songs every time. I know the songs very well inside and out and I know exactly what they should sound like. I don't use any microphones or software. I simply do it by ear. While it's not perfect, I feel I'm able to very consistently get the same mix over and over regardless of the room if I start there
@@_thevaporz don’t use any electronic music to setup they are usually over EQ’d , Iv always used the same songs as Tony Andrews (Funktion one). set mid range (focus on vocal) 1st then top end for this I use George Benson Nature Boy. Then move onto low end until it’s balanced when happy I switch songs to Gat Decore, Passion usually for a final tweak in bass levels. Setup is done ideally at working volume to avoid redlining the mixer or clipping the amps 👍
Learned how to tune by starting with a rta and 31 band eq for mains, then ringing out mains and monitors. Always played classical & rock to balance the overall eq. Tower of power to check highs & mids. Part 2 please
Agree 100%, in my life there are too many people mixing to a picture instead of their ears. I had a similar experience when the audio-wizard I looked up to (and still do to some degree) spent around 20 min "tuning" a system based on the picture, ignoring what the sound was actually doing. I pointed out that it sounded weird, and that it wasn't sounding as good as he normally get is. then he actually listened and realized that he wasn't setup right, and he had to pretty-much start over. Though he got it running well pretty quickly after that. It just showed me that relying too much on these tools made him not listen, and my audience is not made of RTA mics, but other human ears. Now I try to trust my ears as much as possible and only bust out the RTA stuff if I'm in a really rough situation with too many unknowns or changing factors- or if I'm having an issue I cant sort-out quickly with ears alone. I think it is great to have and teach standards. It super useful for new technicians to have a graph to tell them what is right, even if they haven't taken the time to develop their ears. But a well trained ear and listening ability is actually faster at catching problems than a meter in most cases. Especially the problems that will drastically effect your audience and performer/presenter. For my shows, if you see my laptop out as an RTA, it is because i don't trust something there.
There's a band I follow who are quite talented but their sound team is pure garbage. I can imagine people seeing them for the very first time live , just walking out because the sound is horrible. Don't hire friends if you aren't willing to fire friends when the sound sucks and sucks constantly not just due to differences in venues that can't be overcome..
I have been running FOH since 1977 in both huge events and tiny venues. With audiences that ranged from 25k down to 3-4 people. I like your analytical approach and you “get it” as far as tweaked are concerned. Ear training is key and understanding the dynamics of what makes a room sound the way it does is key. I totally agree that you need to be proficient with your equipment possess the ability to listen critically. Your ears and the ability to listen critically are paramount.
Oh hey I recently deployed a PA subwoofer in my living room because why not and I also played a 200 to 20Hz sweep to check for a smooth bass response and for how the room behaves. And then I'd continue on to play some music I was familiar with. I am not a sound engineer and this is just a hobby but I really enjoyed learning from you!
By ear For me it just works! For my final sound check i play Kenny G. For my full sound check but that’s my last check. I’m 57 still doing sound and i still use just my ears. Must bands i want to say all but we know. Say at the end i love the way you run your sound. You make us sound very good! Even done Beastie boys run DMC fat boys and many others big events. Enjoyed your video cNt wait for more.
This is amazing. As a new guy, not having money for the smaart and gears needed, I rely more on my ears. This video just helped in solidifying my decision to train and rely more on my hearing.
I'm lucky to have exceptional hearing, and so wish I had taken that gift and went into sound engineering and audio recording/production. Instead I'm just a heavy metal accountant. Luckily I have played drums many years, but I've always kinda just used my ears whenever putting together a live show with the PA, and yeah it rocks ! More power to ya !
it's crazy how your routine is somehow what i did as well. there was a time where i would simply measure the pa flat with a lake connected to smaart and "draw out" the dips and after that i simply would apply my personal taste eq on top of that which was the average result from like 300+ shows . I just recently put all this aside and went back to tune systems by ear (except for delays and phases of course) because it wasn't fun anymore. the other method is my it has to be done quick method now and works pretty well but when i have the time ears it is. with the younger generation engineers you sometimes get a weird look though because they cannot accept the fact, that this can be done without having 6 + measure mics across the room.
Been doing this eq move for a long time and do tune system with a song I know very well. Munchen Fletcher curve eq move, came to me naturaly, as a self remedy for my ears, since I've did 180+ gigs a year on mixing console. It kept ear fatigue down and than I started noticing people complimenting my sound. I've put two and two together. 😃I even eq wedges for artists I tour with, with same song, but I know how each of them likes them to be eq-ed. So far so good, but do use smaart, when needed. Big up for channel and very good content. First time offender on this channel, I might say. 😀Be well.
True mastery indeed combines skills with vision. My profession is very different from yours, but I can absolutely confirm that. Good “sound” remains one of my spare time passions.
I have been through all these issues in tuning... lol I have also spent lots of time second guessing my methods and refining my sound-stage. Using the calibrated mic was always a good place to start with a new room just to get an idea of a baseline. Each room or venue is different, but I have found myself using a combination of techniques to arrive at a similar outcome each time. Experience and a good ear always outweigh measurements and standards.
Just seen this video now after you uploaded it 2 years ago. And yeah I agree with you 100% on everything what you've said. And me too do the same thing tuning any system I am told to handle. Except for the pink noise area cause that kind of mic is not cheap here in the Philippines. Great video for new breed of wannabe audio system tech 👍👍👍 Got a new subscriber here 🤗🤗🤗. Keep it up.
I play 3 reference songs from a CD, fine tune the crossover outputs with a flat FOH EQ. Next I begin adjusting the FOH EQ to obtain a relatively perceived flat response from the playback with perhaps lightly elevated low end. Next I would use pink noise if available. Lastly, I will use the primary vocal mic being used on the front of the stage and tweak the FOH EQ to make sure that vocal mic sounds decent and check for any frequencies ready to squeal. Been doing it this way for over 30 years. Thanks for your video. I am a strong believer in ear training with an EQ. I prefer 1/3 octave graphs, but I'm old school. I used to mix a lot of monitors a long time ago, I was pretty good at knowing immediately what frequency was feeding back (nearest 1/3 octave). Young engineers today are not so good at this, unfortubnately.
When I am in indoor situations I play "Jack of Speed" by Steely Dan. It has a lot of good highs and lows and a lot of space so I can see how the room is reacting.
Just came across your channel!!, great info!, I also tune by ear, when possible, and will play some intense classical music, use pink noise as well, the tune by ears means that you develop what is known in the audio world as 'Golden Ears', which are the majority of the time more reliable than all the tuning/measurement mics 🎤!, thanks for your videos!!
The frequencies that feedback will change depending on what type microphone being used. Even dents on windscreens can change the problem frequencies...
Definitely a helpful video (I saved it). I fall into the 2nd category. Good vision, good ears, but lack advanced and even some fundamental knowledge. For instance I wasn't familiar with several terms you used. Then again, sound engineering isn't my main gig. I did a fair amount of it in the 90s, but I'm mainly a player. These days I just end up being the guy who knows the most about it in the room...a room with no sound engineers. But I find myself wondering at too many live shows, "why the hell doesn't anyone pay attention to those ear-piercing mids?"
For this "invert a friend's random EQ setting" trick - Harman How to Listen is a great tool for doing the same thing if you have no friends (or just don't have any to hand at the precise moment you want to do your ear training!)
No tuner here, just having been to a good many festivals, and I have frequently wondered if the guy at the mixing desk is deaf or something (and same with the journos who would write a review saying the concert was sullied by low volume). Another thing is that high-pitch tones has a tendency to break up into painful noise IMO. The most interesting example of mixing craft though was one day where the sound had been dull and muddled the whole day until David Bowie came on stage and it was loud enough to blow out your eardrums while still being crystal clear - and the only difference was the guy at the mixing desk.
Actually one thing I would like to add is that sometimes you want a different sounding PA. For example a EDM Concert is supposed to sound a bit different than an evening Ball event I guess. 🐣
8:50 I love the sense of relief when I see a vocal eq that looks damn near identical to the one I use as a starting point except I use a shelf at the high end and dont usually need to cut much of the high mids. I have imposter syndrome hardcore sometimes and I second guess my choices constantly. I dont know what to think when I have musicians and audience members tell me it was the best sound they heard either in a long time or ever. Are they just saying that to be nice? To me it could sound a lot better and after 15 years I'm almost to a point where I feel confident to try getting gigs at venues larger than 300 cap.
I too am my own worst critic. After 30+ years, I still think I could have done better. Even though the band and their followers say that’s the best they sounded.
thanks for the tips is always good to listen to a different audio engineers and come up with your own recipe, I mostly do corporate events and I have a real echoey ballroom and no matter what I do it’s there . What do you do in echoey ballrooms ?
EDIT: I should have watched the video before commenting :D What kind of ideas/thoughts do you have about flat frequency response and/or equal-loudness contour? As a sensitive person I've always hated how often the PA sounds super harsh in the most sensitive range of the ear, say about 2,5-8k. I have managed to get to places where I did sound tunings (just EQ) for about 200-300 crowd and got really good feedback afterwards. Now looking and thinking back, I've always went somewhat in the lines of the equal-loudness contour, minus some bass in some cases. One time this somewhat familiar girl came to me and said that she immediately knew who had adjusted the sound when she walked in to the venue, and was very glad. I've now done "home use" equalizations with EqualizerApo, for example in my living room and for the headphones I use on the computer. And I mostly did it with an online tone generator (szynalski) and by ear, finding the dips and peaks. For the headphones I'm using at the moment, I have 23 EQ points per channel plus 23 for both. I know that getting actually flat response with headphones is pretty much impossible as there is always some movement and small differences with the positions. But I'm more curious about should I try to adjust more scientifically (with microphone) and not with ear? As I believe my ear can't be "universal" :D I'm a bit afraid of possible "bad taste" and how my hearing may adapt to my preferred settings. I have a friend who thinks very much the same about the frequency response (when talking about "disco" and loud music).
I'm a relative noob, but room response, especially down low has always been an interesting area to focus attention for me - a bit old school but I use an old sig generator to do an early doors walk around to find where the bass is phasing. Things change when the venue fills up, but that combined with sweeps and pink noise helps me get things into roughly the right place. I still need to train my ears though as I still have some difficulty identifying problem areas once things kick off. Practice, practice, practice... :)
I'm not even close to call myself doing this often or precise. I just would like to tell you my favorite tracks for tuning soundsystems in my car (or other ones) Mosten the first song i play for doing this is "Moderat - Bad Kingdom" just love it. After that i have taken some adjustments i go further to see if the mids and highs get good at all. I prefer to listening to "Carl Craig - The Melody (Ishmael Ensemble Remix)" for this. Nice videos keep going lovin to hear things like this 👍
I'm mixing live stereo sound for streams, and it involves a lot of guessing, because every one watching uses different speakers, and it should sound passable on every device. I have to mix by ear and eye, but it's more important to pan singers and musicians wide for better separation.
I was a "sound engineer" until my retirement. mostly live but also some studio experience. my beginnings were in the early 70s. one realization I have made: the eyes hear more than the ears. at least with many long ears.😉
Enjoyed the video. I’m a hobbyist weekend warrior run sound from stage cover band guitarist and I use the same song approach and basically wound up where your at on the frequency spectrum. We’ve used hired technical people who have had crappy mixes exactly cause of what you said - too much technical knowledge and not enough “to taste”. Good video.
hey about the bass eq system about bass guitar. was your eq setup for bass work if i direct my bass amp output to a digital mixer? what about tuned of bass guitar? i don't get quite enough about direct input box system. hopefully you will help me.
I use a 20kHz to 20Hz sine sweep when I tune a system, works great. The 30sec sweep I use is from a Quad Maximus Bass Mekanic CD goes from high to low. My hearing doesn't start until about 15k, but I find this to be the best way to set up systems. Afterwards, I play a couple of standard songs that I know very well.
Starting to make sense to me now how I landed at the same conclusion of tuning by ear and using similar settings show to show after years of tuning flat with pink noise .
"grab a mic we are all familiar with. A sure sm 58, especially one with a dent in it" this is my life
Yes yes and yes 🤣
like dropped it accidentally 😂 i hate my dented mic
I’ve got ones with lipstick and dents
I vote yes on part 2
I've been a sound guy since 1989...starting out in clubs, on systems like Yorkville, old JBLs, SoundTech, BFI, Melhart, homemade stuff, etc... My first sound company job was with a former Showco guy, who had an old 70s Showco rig...called the "Hurler System"...that was actually Led Zeppelins PA.
I was never allowed to even look at consoles and processing until I drove trucks, loaded in and out, learned to set up and wire the whole system, and make it work right, etc... If my boss ever caught me even staring at a console for a moment, he would yell at me..."Stop looking at that console...!".
I learned how to pull shows in the shop. I was cleaning toilets, and taking out the trash. I was changing oil in the trucks. I was doing things like cleaning 250ft snake covered in cow poo, after it had come back from a rodeo arena. I learned to repair broken gear, and replace faulty casters on road cases. I got to a point where I could go from scrubbing the toilet, to taking a broken system and bring it back to full working order, and ready for the next show.
Then one day, somewhere around the summer of 92'... I had set up a monitor rig for a Bootsy Collins show. There I was sitting on a road case after I had set everything up. My boss said "Hey, those monitors aren't going to mix themselves...". So there it was...my first time behind a console....mixing monitors for Bootsy. But you know what...it went surprisingly well, because I knew that entire rig, inside and out, literally. I knew how everything worked, and knew about any fussy pieces of gear. It was surprisingly easy to make it all sound right.
Over the years, I've used all the gadgetry available. But most often I use my ears. I rarely look at anything once signal flow is established. I use a 58 to do most of the work. I own a small sound company now. I actually make my own cabinets (a once common thing, but a dying art). And I still do all the stuff the same way. I make sure I know every piece of gear inside and out. I've toured the nation and the world, mixed in front of hundreds of thousands of people...and I still do the speaker on a stick gig in the park, for a kids puppet show. It all works the same on a fundamental level. You're just scaling up and down depending on the gig. People these days miss so many fundamentals, and rely to heavily on everything but their own ears. I occasionally hire guys who love to talk about what consoles they've mixed on, and what shows they've done...but at the end of the day, they don't know much about the whole process. It's sad really.
I see so many guys who can set up the network, program the consoles, set up analyzer gear, and make it all look pretty on a screen. But it still sounds like crap. Those analyzer mics are facing and listening to the PA, meanwhile behind FOH, it sounds like a jet aircraft taking off in your ear.
Scott:
I just carefully read your publication on the subject of the video, in which I saw myself personally, practically in every sentence that denotes your effort and perseverance in a profession like the one we both have.
For me, there is software and machinery capable of helping us. This is certainly welcome. But first and foremost is elementary knowledge about electroacoustics, which is the science that governs our work.
After that, my acoustic perception is the reason they hire me to take care of a system. I do not completely hand over this task to sound analysis tools to the point of allowing the result of this analysis to influence this perception.
Essentially, my goal is to deliver an acoustically coherent program to an audience, knowing full well that the majority of listeners don't even have the real ability to analyze the program being sent to them, which means that the spectrum still has to be wider.
The effectiveness and rigor with which this is done depends - in my opinion - on the real knowledge of the person responsible for the sound system in the scope of the provision that is possible, with the means at his disposal.
As a sound engineer, what I think is that I must always have my ears attentive to what is coming out of the sound system and never let myself be distracted by graphics on the control surfaces.
Since the final result of the work is intended to be sent to people who only use their ears and consequently affect their emotions, I have always felt that my professional sound system tuning should be oriented in that direction.
In other words, I perform this tuning based on what is supposed to happen in a generic way during the shows, with the awareness that I am proceeding in the right way so that everyone can clearly hear and feel the program that is being produced on a stage. .
I wish you luck, health and lots of sound work.
Macedo Pinto
Portugal
A microphone we are all familiar with...."A sure 58 with a dent in it'' :D :D :D
That definitely is the one we are most familiar with
This video makes perfect sense and is one of the best I have seen regarding system tuning. I haven’t been tuning my church’s sound system at all and have been searching long and hard for the best way to do it. (Smaart, drive rack PA) I found this to be eye opening...er...ear opening and relieving after looking at so many eq graphs and dollar signs. Going to start practice listening immediately.
I came to the same conclusions and I've been doing this method with great success for about 10 years now! you've really well articulated the logic behind it and unexpected benefits. I like the way you used the word "smooth" as a goal for your sound systems as opposed to "flat". I use the phrase "ear-friendly". I felt such an outlier compared to all the other techs I know (with their reference mics and Smaart but still not ear pleasing results imho).. it's very refreshing to come across this video!!
This video of yours is excellent, being clear and concise about what we should all keep in mind when making decisions regarding the tuning of professional sound systems.
In my opinion, you can create more content of this type, as this can help everyone.
I wish you health and continued good sound work.
Macedo Pinto
Portugal
I did the sound for a local blackened folk metal band a little while back. I worked a 30 year old analog console, in an old factory (concrete walls and steel beams), and since we got heavily delayed, I didn't have time to do a full sound check. I was pretty nervous about the quality of the sound, but for some reason, I got tons of positive feedback (not the microphone kind).
Turns out, caffeine, nicotine, and stress, works wonders!
I used to EQ a system with a graphic by sliding each slider to max, then min, and settling it where it sounded right to me (playing back familiar music). I always got the system sounding really good this way, and took care of about 90% of potential feedback before I ever turned on a microphone. When my boss found out this is how I did it, he flipped his lid and said I needed to use an RTA because "that's how it's done." Thing is, he sold sound systems; he had little experience in actually operating them, and read about how people did things, and believed it was a rigid formula. Deviation from that formula, to him, made us look incompetent to the customer. (Customer doesn't care -- they just want it to sound good!)
If the boss pays well enough we’ll make it work with measurement equipment too!
That's how I always did it. RTA is only really useful for tracking down FB frequency
I am a student from sri Lanka. I learned so many things about audio engineering from your channel. I like to learn about sound engineering as a hobby and like to mix outdoors. And the first time i listened to that eq practising method. What a good trick to practice eq with ears. Thanks for everything you teach to me and hope you will release good valuable contents in your channel straight in the future. ❤❤
Once again the UA-cam algorithm, picking up an amazing video 2 years later than its original upload. Subscribing 😊
Definitely going to be applying some of these techniques when I get my new sound systems or during soundchecks on loud PA systems :)
Thanks for the awesome vid!
Back in the day before all this tuning gear was available or priced to the point that mere mortals might have it, everything was done by ear. The 400 hz and 2.5khz thing is probably the first thing you learn in doing live show sound. They are two areas that make things sound harsh and sort of hollow. Nobody likes it when you leave much of that stuff in the mix. Learning to move it from the strip EQ to the main mix EQ is a very big step towards getting a proper sound from the start. If you EQ a system for the FM curve to start with, you will always be starting at a pretty good point. Then you are just working for the room and the desires tonality appropriate for the act or event.
You are right on the mark. 400hz = boxey shitty boomey sound. 2.5khz will give people ear fatigue kind of like the never ending sound of a subliminal piece of chalk screeching on a blackboard or the gnawing annoying sound of a dental drill in your ear.
Im not a sound tech but when Iv been to shows almost always the sound is super peircing and harsh. When thinking of doing live shows as a musician Iv feared what my ears might go through tbh. I find PA systems are almost always way too loud, obnoxiously loud and unnecessary. Iv been to orchestras that are loud and normal, appeasing. But at certain rock shows it seems people have no idea the difference between audible and too loud.
I then worry about inner ears because I assume ones gonna have to blast them directly into my eardrum to overcompensate for the volume. I haven’t experienced this yet so idk but all I can say is I almost never go to a show where the sound felt right accept for one show in a small venue in NY and actually PA now that I think of it . And then outdoor Venues mostly. But my impression has always been PA systems are harsh and nowhere near as musical Or sweet as my guitar amps at very loud volumes
I owe you one! I strongly agree with your ideas, and the video you made was really helpful to me as a beginner at sound industry.
I hope that you'll create more videos and tutorials!
Very intelligent and entertaining piece. I've been a studio (and sometimes live) engineer for over 50 years.....so I've see the technology evolve. I cut my real engineering chops on a board that had NO EQ whatsoever, drawing on the wisdom and experience of my teacher, Mack Emerman who would not allow you to touch an EQ until you had exhausted every possibility of microphone selection and positioning. What I see in the curve windows of boards these days is horrifying.
Great video! Thanks. I have noticed exactly the same thing over the years how if I averaged out all of my EQ's I have so many similarities as well. I havent done it myself as I didnt want to add / remove from certain things. For instance I dont like putting EQ on acoustic and electric guitar if I can help it at all. I always try fix the source first. So on stage fiddling with the musicians EQ on his acoustic and 99.9% of the time it sounds just perfect. Just roll off the lows with a HPF. Same for electric, if there is a amp I listen to the source. If the source is good then I will play with mic position roll off the lows and 99% of the time you have an amazing sound. But watching your video makes me realize I should give it a try. It will also save the other engineers loads of time if the channels just "sound" good from scratch. Great video. Please post more!
Man, I'd like to chat. I've been doing this and hiding my technique for about 3 years. I'm a firm believer in quick responsive EQ, what feels good to the ear. I took it as I'm correcting the resonant peaks of the system and room, so I can correct the tonality and resonant peaks of the instruments and voices. I haven't had a legitimate loudness complaint in 3 years, and have gotten more compliments than I am comfortable handling lol. I now have a reference to why I do what I do. Thank so much for making the video.
Been doing live sound for 10 years and I literally do the same thing, never thought I would find someone that does the same.
Never got loud complaints in a long while. But my dynamics are very well done.
@@stevengangaram2825 I’ve been in live sound for 16 years, but would always try and eq the room flat, until that revelation more than 3 years ago now, that I didn’t like it. I didn’t like it when I did it, even though it looked right. I didn’t like how it sounded when others had said they had eqd flat. Wild ride, but so glad I took it!
I’m 30+ years into sound and agree with both of you. I can’t stomach a “flattened” EQ. It sounds horrid. I play “hey 19” by Steely Dan when setting my EQ. If that sounds smooth, then the band will sound smooth. It also doesn’t annoy like pink noise does.
Great video. Amazing to see how the tuning went over the years too.
Great video. Love to see more of a step-by-step process with the equipment you use.
I love your philosophies because so much of it aligns with what I found doing sound at festivals for years.
Yeah at express how nice it is to hear the attention to detail and subtlety and it's possible revelations for the concerned ear for sound coming from someone else. Subscribed
Great video. I usually use graphics on my LR and aux sends, and parametric EQs on any routed matrices. As of late, I've been running my subs on an aux, but sometimes I like to mix full range - depends on the band/system/room. The best advice I was given as monitor engineer: just go out and listen to the wedge! Always use your ears.
My soundcheck songs: PYT (Michael Jackson), Woman In Chains (Tears for Fears), and I Like It (DeBarge.)
Also, audio engineer friends: please be kind to your ears. Even if you don't think you mix loud, get used to mixing with ear plugs. I know it sucks, but your ears are your best tool. Protect them.
I always use Michael Jackson dirty Diana to test a system it's always a good go to
YES!! Finally someone who understands Fletcher & Munson is the way to go! Especially good if you’re tuning a system made for long listening (read night clubs and such). It’s much smoother for the ears and all the sharp and annoying frequencies tend to disappear. People have been discussing house curves for ages on the internet but this rarely comes up as a subject, which surprise me.
Fun fact: I was tuning a couple of 2” compression drivers with big horns, oldschool you know, and Fletcher/Munson curve was the only way to make them sound natural and not honky. But when they where tuned right they sounded amazing.
I’ve been to sooo many nightclubs with bad tuned systems, and we talk about systems like Void and Funktion One. My ears hurt when I have to listening to 110db of flat response, but not at all with the right tuning.
I really hope this can be the new industry standard. And I know Harmann (JBL and so on…) for example have their own curve for headphones and such, very similar to Fletcher. They know their deal!
Great video, thanks. I used this method last night to eq my band's system, and it's the best we've ever sounded. Big help!
Love this. Thanks for sharing, and I appreciate the pockets of humor.
Yes give us a part 2!
Can you do one for a home audience? You know, some of us might not be engineers but I just love trying to get great sound at home that takes me back to a gig or brings the most out of the music for enjoyment.
i am a bit late to this video but glad i watched it. ive been doing sound rental for 12 years for EDM on turbo/F1 boxes. The guy i learned everything from "The OHM GURU" would always tell me "tune from the heart" and would puund his chest. i am now learning the more technical side of things with mics and graphs and all that which is how i found your channel. thanks for the vids!
Devin I enjoyed this. A classical guitarist for 50 yrs. (but never neglected my strat or gibson.) I now audio recording at home using a fast HP desktop with my line6 pod HD pro rack mount fx as audio interface. As a musician, not a mixer, you have encouraged me go a little deeper to find the soundscape for a track or mix down. Or you could be my personal home studeo mixer : )
I love Joe Satriani's fullness. I haven't dealt with a computer system live yet, but I've been thinking about it. Great info man. :)
YEAH FOR THE JOE SATCH SHOUTOUT! Time Machine is sooo good. Thanks for the video!
Great approach nice and honest and interesting and a nod of approval happened as soon as you said you use your ears !
Thanks for that video! I do concerts at school, but only a few times a year and I would count myself to the category only some skills and only very little vision so thanks for giving me a perspective of where to go!
i've just discovered your channel, and as an aspiring audio engineer your videos are amazing!
Thanks!! We try
Heavens, good to see Nexo is still going strong. I spent a few days with Eric Vincenot at his manufacturing facility on the outskirts of Paris back in 1986. I recall he and I hiking a huge Nexo Integrated System 10ft in the air on a forklift in their car park and doing frequency tests. We also visited his compatriots E2A who made custom amps for Nexo. He also introduced me to some strikingly tall women with large hands - but that's Paris for you....
That was a wicked video.
My ears are all knackered after lockdown from no work. I really like the eq game, thank you. I've picked up a Youngling to train, this'll help is both.
Great video! My method has always been to eq a room by using the same three songs every time. I know the songs very well inside and out and I know exactly what they should sound like. I don't use any microphones or software. I simply do it by ear. While it's not perfect, I feel I'm able to very consistently get the same mix over and over regardless of the room if I start there
Would you mind sharing your reference songs? Thank you.
@@_thevaporz don’t use any electronic music to setup they are usually over EQ’d , Iv always used the same songs as Tony Andrews (Funktion one). set mid range (focus on vocal) 1st then top end for this I use George Benson Nature Boy. Then move onto low end until it’s balanced when happy I switch songs to Gat Decore, Passion usually for a final tweak in bass levels. Setup is done ideally at working volume to avoid redlining the mixer or clipping the amps 👍
Learned how to tune by starting with a rta and 31 band eq for mains, then ringing out mains and monitors. Always played classical & rock to balance the overall eq. Tower of power to check highs & mids.
Part 2 please
Excellent video. Like others, I am waiting for part 2.
Hats off to you Devin.... I can relate to what you've said in the video... Its alot like, you can never stop learning no matter how good you get😜
Agree 100%, in my life there are too many people mixing to a picture instead of their ears. I had a similar experience when the audio-wizard I looked up to (and still do to some degree) spent around 20 min "tuning" a system based on the picture, ignoring what the sound was actually doing. I pointed out that it sounded weird, and that it wasn't sounding as good as he normally get is. then he actually listened and realized that he wasn't setup right, and he had to pretty-much start over. Though he got it running well pretty quickly after that. It just showed me that relying too much on these tools made him not listen, and my audience is not made of RTA mics, but other human ears. Now I try to trust my ears as much as possible and only bust out the RTA stuff if I'm in a really rough situation with too many unknowns or changing factors- or if I'm having an issue I cant sort-out quickly with ears alone.
I think it is great to have and teach standards. It super useful for new technicians to have a graph to tell them what is right, even if they haven't taken the time to develop their ears. But a well trained ear and listening ability is actually faster at catching problems than a meter in most cases. Especially the problems that will drastically effect your audience and performer/presenter. For my shows, if you see my laptop out as an RTA, it is because i don't trust something there.
There's a band I follow who are quite talented but their sound team is pure garbage. I can imagine people seeing them for the very first time live , just walking out because the sound is horrible. Don't hire friends if you aren't willing to fire friends when the sound sucks and sucks constantly not just due to differences in venues that can't be overcome..
I have been running FOH since 1977 in both huge events and tiny venues. With audiences that ranged from 25k down to 3-4 people. I like your analytical approach and you “get it” as far as tweaked are concerned. Ear training is key and understanding the dynamics of what makes a room sound the way it does is key. I totally agree that you need to be proficient with your equipment possess the ability to listen critically. Your ears and the ability to listen critically are paramount.
Oh hey I recently deployed a PA subwoofer in my living room because why not and I also played a 200 to 20Hz sweep to check for a smooth bass response and for how the room behaves. And then I'd continue on to play some music I was familiar with.
I am not a sound engineer and this is just a hobby but I really enjoyed learning from you!
Wonderful video, i‘m saying this as a music producer that never tuned a system but is caring what goes on at big venues and festivals.
bro did you read my diary or what?? haha, this was awesome and the struggle is real, appreciate you
By ear
For me it just works! For my final sound check i play Kenny G. For my full sound check but that’s my last check. I’m 57 still doing sound and i still use just my ears. Must bands i want to say all but we know. Say at the end i love the way you run your sound. You make us sound very good! Even done Beastie boys run DMC fat boys and many others big events. Enjoyed your video cNt wait for more.
This is amazing. As a new guy, not having money for the smaart and gears needed, I rely more on my ears. This video just helped in solidifying my decision to train and rely more on my hearing.
This is what a touring FOH Audio Engineer told me years ago. Great advise!!
Really enjoyed your video, thank you.
I'm lucky to have exceptional hearing, and so wish I had taken that gift and went into sound engineering and audio recording/production. Instead I'm just a heavy metal accountant. Luckily I have played drums many years, but I've always kinda just used my ears whenever putting together a live show with the PA, and yeah it rocks ! More power to ya !
Brilliant video
This is a good basic knowledge of system tuning
Very educational. Thank you!
it's crazy how your routine is somehow what i did as well. there was a time where i would simply measure the pa flat with a lake connected to smaart and "draw out" the dips and after that i simply would apply my personal taste eq on top of that which was the average result from like 300+ shows . I just recently put all this aside and went back to tune systems by ear (except for delays and phases of course) because it wasn't fun anymore. the other method is my it has to be done quick method now and works pretty well but when i have the time ears it is. with the younger generation engineers you sometimes get a weird look though because they cannot accept the fact, that this can be done without having 6 + measure mics across the room.
Fantastic. thank you for sharing this info with us
Been doing this eq move for a long time and do tune system with a song I know very well. Munchen Fletcher curve eq move, came to me naturaly, as a self remedy for my ears, since I've did 180+ gigs a year on mixing console. It kept ear fatigue down and than I started noticing people complimenting my sound. I've put two and two together. 😃I even eq wedges for artists I tour with, with same song, but I know how each of them likes them to be eq-ed. So far so good, but do use smaart, when needed. Big up for channel and very good content. First time offender on this channel, I might say. 😀Be well.
I do work in the same way since years. A interessting point for me is how many people dont know Fletcher&Munson.
I’m a Dj and very intrigued. Thanks for the learnings.
Great sound engineers do it professionally and meticulously. The best ones do what you do xD
True mastery indeed combines skills with vision. My profession is very different from yours, but I can absolutely confirm that. Good “sound” remains one of my spare time passions.
Thank you for sharing your knowledge!!! Really appreciateit
I have been through all these issues in tuning... lol I have also spent lots of time second guessing my methods and refining my sound-stage. Using the calibrated mic was always a good place to start with a new room just to get an idea of a baseline. Each room or venue is different, but I have found myself using a combination of techniques to arrive at a similar outcome each time. Experience and a good ear always outweigh measurements and standards.
Just seen this video now after you uploaded it 2 years ago. And yeah I agree with you 100% on everything what you've said. And me too do the same thing tuning any system I am told to handle. Except for the pink noise area cause that kind of mic is not cheap here in the Philippines. Great video for new breed of wannabe audio system tech 👍👍👍
Got a new subscriber here 🤗🤗🤗. Keep it up.
Thanks!!! Glad you enjoyed it
I play 3 reference songs from a CD, fine tune the crossover outputs with a flat FOH EQ. Next I begin adjusting the FOH EQ to obtain a relatively perceived flat response from the playback with perhaps lightly elevated low end. Next I would use pink noise if available. Lastly, I will use the primary vocal mic being used on the front of the stage and tweak the FOH EQ to make sure that vocal mic sounds decent and check for any frequencies ready to squeal. Been doing it this way for over 30 years.
Thanks for your video. I am a strong believer in ear training with an EQ. I prefer 1/3 octave graphs, but I'm old school. I used to mix a lot of monitors a long time ago, I was pretty good at knowing immediately what frequency was feeding back (nearest 1/3 octave). Young engineers today are not so good at this, unfortubnately.
Been there and lived it many times
Wow amazing content. This video is way ahead of its time
You should share it with someone!
When I am in indoor situations I play "Jack of Speed" by Steely Dan. It has a lot of good highs and lows and a lot of space so I can see how the room is reacting.
Just came across your channel!!, great info!, I also tune by ear, when possible, and will play some intense classical music, use pink noise as well, the tune by ears means that you develop what is known in the audio world as 'Golden Ears', which are the majority of the time more reliable than all the tuning/measurement mics 🎤!, thanks for your videos!!
my favourite soundcheck songs are Queensryche - Silent Lucidity, Lenny Kravitz - American Woman, and Joe Cocker - Unchain My Heart.
nice video. im just a tech but is feels good that I share the same ideas as someone that really know what hes doing..
Very inspiring! What app or other tools do you use for ear training on those long drives?
Great video thanks for the info!
The frequencies that feedback will change depending on what type microphone being used. Even dents on windscreens can change the problem frequencies...
mics angle and distance to singers face change the feedback frequency drastically..
these array systems are sweet!
Definitely a helpful video (I saved it). I fall into the 2nd category. Good vision, good ears, but lack advanced and even some fundamental knowledge. For instance I wasn't familiar with several terms you used. Then again, sound engineering isn't my main gig. I did a fair amount of it in the 90s, but I'm mainly a player. These days I just end up being the guy who knows the most about it in the room...a room with no sound engineers. But I find myself wondering at too many live shows, "why the hell doesn't anyone pay attention to those ear-piercing mids?"
Okay hold up 😂😂😂 i love this video already and I'm only at 5 minutes 24 seconds, I'm dying at the sm58 dent that's mad relatable
I gosh! Thank you! I’m not alone!
Please Part 2 😍😍
ya Part 2 would be great
ok, you are slowly making me spend more money in my system.
Great video
Great video.
Plz can you give us a live demo of tunning with all the things you mentioned.
For this "invert a friend's random EQ setting" trick - Harman How to Listen is a great tool for doing the same thing if you have no friends (or just don't have any to hand at the precise moment you want to do your ear training!)
You sir, deserve a statue. Great video!
been saying this at SAE in 1999 , what eartraining tools do you guys like to use??
love your vid.
No tuner here, just having been to a good many festivals, and I have frequently wondered if the guy at the mixing desk is deaf or something (and same with the journos who would write a review saying the concert was sullied by low volume). Another thing is that high-pitch tones has a tendency to break up into painful noise IMO. The most interesting example of mixing craft though was one day where the sound had been dull and muddled the whole day until David Bowie came on stage and it was loud enough to blow out your eardrums while still being crystal clear - and the only difference was the guy at the mixing desk.
Actually one thing I would like to add is that sometimes you want a different sounding PA. For example a EDM Concert is supposed to sound a bit different than an evening Ball event I guess. 🐣
Thanks for the video : I concur 100%
Part 2 please you kind skilled individual
8:50 I love the sense of relief when I see a vocal eq that looks damn near identical to the one I use as a starting point except I use a shelf at the high end and dont usually need to cut much of the high mids. I have imposter syndrome hardcore sometimes and I second guess my choices constantly. I dont know what to think when I have musicians and audience members tell me it was the best sound they heard either in a long time or ever. Are they just saying that to be nice? To me it could sound a lot better and after 15 years I'm almost to a point where I feel confident to try getting gigs at venues larger than 300 cap.
I too am my own worst critic. After 30+ years, I still think I could have done better. Even though the band and their followers say that’s the best they sounded.
thanks for the tips is always good to listen to a different audio engineers and come up with your own recipe, I mostly do corporate events and I have a real echoey ballroom and no matter what I do it’s there . What do you do in echoey ballrooms ?
EDIT: I should have watched the video before commenting :D
What kind of ideas/thoughts do you have about flat frequency response and/or equal-loudness contour?
As a sensitive person I've always hated how often the PA sounds super harsh in the most sensitive range of the ear, say about 2,5-8k. I have managed to get to places where I did sound tunings (just EQ) for about 200-300 crowd and got really good feedback afterwards. Now looking and thinking back, I've always went somewhat in the lines of the equal-loudness contour, minus some bass in some cases.
One time this somewhat familiar girl came to me and said that she immediately knew who had adjusted the sound when she walked in to the venue, and was very glad.
I've now done "home use" equalizations with EqualizerApo, for example in my living room and for the headphones I use on the computer. And I mostly did it with an online tone generator (szynalski) and by ear, finding the dips and peaks. For the headphones I'm using at the moment, I have 23 EQ points per channel plus 23 for both. I know that getting actually flat response with headphones is pretty much impossible as there is always some movement and small differences with the positions. But I'm more curious about should I try to adjust more scientifically (with microphone) and not with ear? As I believe my ear can't be "universal" :D I'm a bit afraid of possible "bad taste" and how my hearing may adapt to my preferred settings.
I have a friend who thinks very much the same about the frequency response (when talking about "disco" and loud music).
I'm a relative noob, but room response, especially down low has always been an interesting area to focus attention for me - a bit old school but I use an old sig generator to do an early doors walk around to find where the bass is phasing. Things change when the venue fills up, but that combined with sweeps and pink noise helps me get things into roughly the right place. I still need to train my ears though as I still have some difficulty identifying problem areas once things kick off. Practice, practice, practice... :)
I'm not even close to call myself doing this often or precise. I just would like to tell you my favorite tracks for tuning soundsystems in my car (or other ones)
Mosten the first song i play for doing this is "Moderat - Bad Kingdom" just love it. After that i have taken some adjustments i go further to see if the mids and highs get good at all. I prefer to listening to "Carl Craig - The Melody (Ishmael Ensemble Remix)" for this.
Nice videos keep going lovin to hear things like this 👍
I'm mixing live stereo sound for streams, and it involves a lot of guessing, because every one watching uses different speakers, and it should sound passable on every device. I have to mix by ear and eye, but it's more important to pan singers and musicians wide for better separation.
I was a "sound engineer" until my retirement. mostly live but also some studio experience. my beginnings were in the early 70s. one realization I have made: the eyes hear more than the ears. at least with many long ears.😉
Enjoyed the video. I’m a hobbyist weekend warrior run sound from stage cover band guitarist and I use the same song approach and basically wound up where your at on the frequency spectrum. We’ve used hired technical people who have had crappy mixes exactly cause of what you said - too much technical knowledge and not enough “to taste”.
Good video.
More videos plz
hey about the bass eq system about bass guitar. was your eq setup for bass work if i direct my bass amp output to a digital mixer? what about tuned of bass guitar? i don't get quite enough about direct input box system. hopefully you will help me.
I use a 20kHz to 20Hz sine sweep when I tune a system, works great. The 30sec sweep I use is from a Quad Maximus Bass Mekanic CD goes from high to low. My hearing doesn't start until about 15k, but I find this to be the best way to set up systems. Afterwards, I play a couple of standard songs that I know very well.
whats smoothing of the resulting graph you use? and do you sweep a single spot only?
Starting to make sense to me now how I landed at the same conclusion of tuning by ear and using similar settings show to show after years of tuning flat with pink noise .
this.
I find the 'V' shape always works well