Preventing Microphone Feedback in a Live Sound PA
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- Опубліковано 31 тра 2024
- We will all stress about microphone feedback when we are mixing live. In this video, I will teach you my steps for preventing Microphone Feedback through the PA so you can feel confident handling any issues that arise.
This video is a part of my Behringer X32 Fundamentals Course where I teach five building blocks that I believe every audio engineer should know to be confident in mixing and handling issues.
Learn more about the X32 Fundamentals Course at course.drewbrashler.com.
this is my fundamental of mixing
1. know your speaker ( using rta measurement )
2. know your gain on every mic (every mic has different setting of gain based on the system you're using, so careful)
3. use GEQ on every monitor ( mostly reduces 2k 4k 8k up to 5db or more and make another adjustment on another frequencies based on the room you're using )
4. prevent boosting frequencies on mic, don't be afraid and so pity on reducing frequencies, make adjustment later
5. ALWAYS USE LOW CUT ON VOCAL🤣
Good fundamentals!
use an expander earn 3.5 db
The issue I often have with ringing out feedback is that I ring out frequencies when there are no audience in the room, but when the room gets filled with people, room acoustics change a little which results in different frequencies prone to case feedback.
Then go back and adjust
That's not actually how it works the audience would actually absorb more sound causing less feedback
@@sethbrouwer2008that's only partially true. A big audience in a room will often increase temperature and humidity which will change the acoustics a little. Often you're not going to hear the difference but for feedback, only a small change is necessary.
This might sound dumb but I actually help decrease feedback by lifting my speakers up as high as I can and angling them downwards towards the audience. And I usually deliberately set my floor monitors in between the performers rather than in front of them and facing straight back towards the end of the stage rather than facing the performers. I normally like to give drummers some headphones or in ears to help decrease that horrible drummer request if TURN UP MY MONITOR. That setup normally helps against feedback BUT! while the crowd is having a good time, the band usually gets mad at me because I tell them straight up don’t move my wedges lol
@@JavierSanchez-el4plyes that is always been the case when one instrument is louder from the others everyone complains and ask for more volume or gain.
I am from Uganda. have learnt so much from you and this has made one of the best sound engineers here in my country. Thank you so much. God bless you Sir!
yessir
How is our country 😅
My band used to run a feedback locator. During soundcheck we would pay attention to the feedback locator to see where we were having problems and we would adjust them before the show. I don't recall having to deal with increased feedback because more people came into the venue. Our audience sizes were between a few hundred to a couple thousand and the amount of people never seem to play into the feedback equation. From my experience the more people the less feedback
You're the best sound mixing teacher out there. I have XR-12/18 and can relate to some of X32 functions. I do wish if you can do some short videos on MR-12/XR-12 if you get a chance though. Thanks again.
You're a great teacher Drew!
What also helps to prevent feedback, is to use less gain on the preamp of the channel, and to raise the fader more.
When you apply gain on your mic, not only does the mic get louder into the channel, but also you add more noise to it. (I’m not talking about the noise floor that gets amplified through the mic, but actually adding noise from the preamp itself).
The more noise you have in a channel, the quicker it’s going to feedback.
This trick helped me a lot when I had to amplify a few of those omnidirectional headset mics during conferences.
Correct
Genuinely curious, but how much gain should I use? I'll be a sound technician for the first time for our theater production, tips would be appreciated!
@@andriealinsangao613To give you the most honest answer: I can’t say, because it depends completely on what mixing console (and its preamps) you are using and what mic you’re going to amplify.
There are some rules of thumb, for instance give it gain until the meter on the channel is showing -18dB (if you use a digital console), but in a lot of situations that would already be too much gain. As this video points out: it really depends on how loud you need something to be amplified. Just follow the tips in this video and I think you’ll be just fine. Good luck! 👍
@@luukmeijssen2515 If I knew our gear, I bet it would be wireless lavalier microphones like we used on our last production... I don't know yet.
I ran sound for high school theatre productions for two years, and in that time, I learned to fight the uphill battle. The stage was abysmally treated, the face mice were omni directional, and there were speakers pointed directly at the actors. I was never instructed on how to fix the issues, so the school was lucky that I knew what I was doing or else it would’ve been a disaster. I did everything mentioned in the video and some extra stuff. I’d highpass everyone’s as close to their voices’ fundamental as I could get. I’d use the exponential (EXP3) gate to keep the mics off going below -45db. Lastly, I’d compress each voice about -25 db to make sure no shouts or belting caused the whole system to feedback. Needless to say, my EQ curves looked like Swiss cheese, but everything was working against me when those mics went on. Again, these configurations are for very, very aggressive feedback control, but when worst comes to worst, this is how I managed.
I have this same problem in a hall I mix in. It was designed for choir, and they took all the carpet, pews, and sound dampening off the walls, installed theatre seating and a powerful sound system. Now I have to do everything you just described, for every mic we use, and again every time we move one. I'm begging them to put sound dampening back on the walls so I can have people other than myself run sound occasionally without giving them a crash course in GBF and audio theory lol.
Great content, useful way to teach! Keep posting!
Dear Brew, I think your videos are really essentiell for x32 users (especially non professional technicians)! People can learn a lot by watching them. One additional idea to the subject: The main vocal channel (lead singer) is important enough for me to insert a graphic eq (GEQ - A or B Channel of the DUAL GEQ) into that channel.
That helps me to reserve the parametric bands of the channel EQ for sound shaping and I can treat more feedback frequencies. Graphic EQs on monitors and Main PA is the next I do, as tobby917 already mentioned. But again, the way you explain the subject and the use of the x32´s onboard tools is great. Thanks a lot for the time you put into your video production!!
Great ideas! Thanks for watching and thanks for the comment!
Excellent simple explanation, thank you. I am a new audio engineer, the issue I am also having on my Walkman headset mic is that when my pastor speaks occasionally a word will be garbled. He is not changing tone and volume when this happens. We have an sq-5. Thx
Thank you for sharing this information, it’s very helpful. God Bless you
Drew Brashler - The Quick-change Artist!🤣 A very useful video. Thanks!
HAH! You know it! Thanks for watching!
A very good video Drew as you have address the cause of the issue well. I have a few suggestions...
- you should use differing terminologies for speakers. Either Speakers & presenters or monitors & speakers as it can be confusing.
- you talk about the EQ effecting what goes out to other sources. The better way to handle & think about this is to use the channel eq to correct the source & any issues unique to that channel. Then use the paramatric equaliser on the send (or even better is to insert & use a graphic equaliser, would be nice if behringer made the GEQ an option on the send like on the XR models). That way you are dealing with the issues unique to that listening position. Other locations (hopefully on diff sends) could have different issues due to types of monitors of physical differences in surfaces etc.
- the last one is a nit pick, with respect to the gate you mentioned it mutes the channel, but with this setup (as you explained by the 9db gain reduction) it is attenuating the channel.
Cheers
Do you ever or would you ever use the 31band eq that is built in the berhringer console on the mains and sub? If so, how would you apply it?
I'm from Indonesia, thank you teacher for the knowledge you have taught me, I really like it.
Thanks so much for the lectures
Great video Drew, Greetings from Costa Rica
I personally use the GEQ on my monitors and house speakers to kill feedback. I prefer to Eq my pastor mic and vocals so it sounds good tone wise especially if sending to stream etc. I know GEQ doesn't allow Q adjustments, but im ok with cutting just a lil bit more frequencies to get my tone.
Absolutely! Tuning the system always is a great place to start and will also add in a GEQ if the 6-bands of parametric EQ isn't enough for ringing out the floor wedge.
Hey there :)
I have a question:
Am I right that the following is not possible on an x32:
I have a Channel with an Insert effekt (Suboctaver) an want to send it to my IEM pre-fader. The insert must be post EQ because I want to cut the frequencies before the suboctaver.
I only get it working with either sending the channel postfader (no-go with IEM) or inserting the effekt pre-EQ (not as clean as post-dyn). Maybe you have an other idea to fix this issue? Would be very helpful😊
Drew, great video! We have an X32 at our church and I was hoping for maybe some updated videos on X32 effects. Your previous ones have been great, and our Sweetwater rep actually recommended I watch your videos! But it seems like the newer firmware on the X32 has even more effects than before.
i support this
Absolutely! I'll start refreshing them shortly!
Thank you Drew. Can I ask do you do this for the monitor(s) aswell as FOH? We get a lot of feedback through our monitor. Our singer keeps saying he can’t hear himself. We turn up his fader and get awful feedback. Do we ring out the monitor using the eq on just the singer’s monitor channel or on the main aux out equaliser?Thanks for a great video. BTW we use a Behringer XR12.
I just use a DBX feedback destroyer (in music mode so the filters are not too wide). Use 22 fixed filters that you let the device find every time you are at a new place or use different microphones and 2 live filters for in case of. Saves a lot of work and give a huge amount of extra DB's
Great stuff Drew! I would like to point out to all that use the x32 live that using your bus sends for monitor mixes gives you 6 eq's to use for ringing out rather than the 4 you had available. Also, eqing and low passing the mic on the input channel first so it sounds good out front. Those eq and low pass adjustments are then sent to the mix bus. You start with a decent sound. For back up I also have 31 band eq's inserted into the first 4 mix bus' on my board. I programmed them into the first four ASSIGN buttons as well for instant access. Pretty much got all those ideas from watching you work the board lol. Thanks a bunch Drew!!🤘✌
"For back up I also have 31 band eq's inserted into the first 4 mix bus' on my board. I programmed them into the first four ASSIGN buttons as well for instant access."
Nice !
Hey Drew, I’m a guitar player that is using guitar amp simulator pedals in my rig. We have an X32 and I normally send a stereo pair of XLR’s to the FOH. The problem is the amps are out of phase with each other. Yesterday I was able to unlink my two channels and flip the phase on the second one only. I couldn’t flip the phase on only one channel until I unlinked them. But if I linked them again it would override the phase so I had to leave them unlinked to make things work.
Do you know of a way to flip the phase on only one side of a stereo pair with the x32?
Thanks! I also run sound and always watch your videos whenever I need to do anything out of the ordinary on the x32. For now I want to get better with using the effects on the x32.
Very informative video!
this is the really tip of the iceberg I really suggest to use a 31 band GEQ on the wedges and the main PA + sidefill and so on. A microphone wouldn't resonate and create feedback always in the same exact frequency is a matter of physic and positioning of the mic compared to the tweeter, the woofer the inclination torwards the wedge... you can significally get better with GEQ of course, but it you start to get down every frequency that resonate you'll start to lose all the pressunre energy and the intelligibility. Better start with a great sets of speakers, choosing the right microphone for the right task and than start put hands on the EQ. Btw good overall intro lesson ;)
Exactly, this is just an intro to it. There is so much more that can go into controlling feedback with speaker selection, placement, tuning, acoustics. And then you can go into monitor EQ (I have a video soon for ringing out a floor wedge). Then into microphone selection and placement. SO much to cover. haha.
Thanks for watching and thanks for the comment!
Thank you very much, kind man!
Invest some money and buy in-ear monitors. Not only will it SIGNIFICANTLY reduce the incidence of feedback but it also keeps the monitor mix from bouncing off of the back wall of the stage and muddying up your FOH mix. We saw a significant improvement.
Great video, but I always use a GEQ for ringing out and the parametric EQ for tone.
So, I understand that reducing the bad frequencies could reduced or eliminate feedbacks. But how you adjust the vocal mics after you turn down the said bad frequencies to sound good for every person? The tone might sound bassy or not bright.
Great lesson. You could use Optogate On every Microphone where a wired connection is permitted. Would love to see some content talking about mastering stage volume control.
Hello drew. I am using the google translator, maybe my query is not clear. the signal routing that a DAW allows is very wide. Could you make a video on what routing would look like on a modern live console? Some real shows examples?
A very useful video. Thanks!
Thanks for watching!
My question to you here, is why not use a 31-band GEQ or a Flex15 on each matrix or on the main LR (if that's feeding your matrixes), using the GEQ to nullify feedback and freeing the PEQ as a creative tool, rather than corrective?
Thanks, love video 😊
always on point Drew
Thanks so much!
Excellent video
Thanks so much!
Thanks Drew, very useful. One word though, continuity! The changes in your shirt colour actually made me laugh.😂😂 I guess some others may find it distracting though.
HAHA! Gotta love the quick change.
Drew i don't understand the mirror reflection part... How do i apply that check in my church
Great video thanks!
Thanks for watching!
Thanks Drew
You're welcome!
Put your stage Fold Back monitors 180 degrees out of phase from FOH. You’ll need to make fly leads unless you’re using a digital desk that our of phase option. You will get heaps more gain before feedback 👍
Hey Drew. Amazing work you doing. i get better and better every time i watch your posts. Anyways, i was hoping if you could do a video on how to multitrack with effects. i wanna know if it can be done, Thanks.
Thanks for watching! I have an old video on this! ua-cam.com/video/5bANKiW9ysk/v-deo.html Check it out!
I have a question our pastor loves to shout he wants to hear him self on the monitor and when I had more sound for him or increase the mike sound for him feedback comes and destruct us and when i reduce for him he shout at us to increase again what can I do for this kind of things pls help me
So when ringing out the mic, you bring up the channel fader to the point of feedback and asjust, got it. My question would be how much gain did you set for that mic before bringing up that fader? Second question, once that’s set do you keep that mic hot at unity and repeat the process for additional mics?
"would be how much gain did you set for that mic before bringing up that fader"
Same gain staging as usual.
Great Video. What headset microphone are you using ??
Thanks! What headset mic are you wearing?
great video sir Drew, I'm from philippines and I wish you make a video about the X-FDBK by Waves. X-FDBK is a feedback suppression plugin developed by Waves Audio. It is designed to address feedback issues commonly encountered in live sound reinforcement scenarios. Feedback occurs when a sound loop is created between an audio source (such as a microphone) and a sound system, resulting in a high-pitched squeal or unwanted noise.
I do have a video planned in the next few weeks about the Waves X-FDBK. I love using that plugin!
How do I get to use it with a x32 compact or a xs-presonus
with x32/m32, i was given the complaint of the preachers track sounding too processed for the broadcast and online stream. i ended up going to the routing and changing the tap point to pre eq and that solved it.
Yup! This is one of the downsides of feeding stream from FOH. The tuning of the PA has so much to do with all of it. Glad you got it sorted out.
Those white panels behind you look amazing, what are they?
need to know how to route a midas hub4 to to dp48 starting from an M32 mixing console
Love video. Just one thought. You could start the video at 54 seconds. On UA-cam. Just kickstart the videos by just baaaam. Straight to the point.
Brother good morning my name is Buzzi our church doesn't have that proper sound system could you please help me which sound system is better to get brother.
HI Drew - thanks for this!
I'm totally stumped trying to control snippets via MIDI. Have you done any vids on that, or is that topic covered in your course? I want to have program changes in my sequenced MIDI track trigger the snippets but I can't find any good instruction on it - hoping you can help!.
I have not made any videos with the X32 on Midi. I'll have to do some in the future. Thanks for the suggestion!
@@DrewBrashler That would be awesome!
I think I got it working through a lot of trial and error. One of the most frustrating things I found were inconsistencies between "Edit", the iPad app and the console itself. I have a rack unit so I use Edit for the most part, but could find no documentation explaining the functionality, the difference between "Scenes, snippets" and "Mixer Scenes and Mixer Snippets", inability to edit things in the software that you can on the unit itself, the "enable" button never seems to be "active", etc., etc.
In general, the MIDI functionality as it relates to show control seems to be a bit of a mess, so any light that you can shed would be GREATLY appreciated!!
Thanks again!!
hey can we do something like this on the flow 8?
Why are you using parametric EQ on the MIC Channel to kill Feedback and not the graphic EQ on the monitor? I prefer equalizing the monitor to kill Feedback because I need the parametric EQ to set up smooth and good vocals
Actually toning the vocal microphones or some instrument microphones needs all those 4 band EQ's to have the right sound. Especially with vocal tones I use channels EQ to create a good sound and if any monitors ringing I can use same EQ for the monitors channel. That way you keep your EQ bands for tone, not for preventing the feedback. Even with the simplest instruments sounded with mic, you need all that bands on EQ. Any feedback has to be taken care on monitors EQ. Working every night with live bands, you meet so much vocals and musicians that lost some of their hearing and they always want more n more volume. Plus, i always use vocal channels EQ to make a good voice for singers, send to monitors slowly and keep pushing up until it rings. Then i just insert a Dual Graphic EQ to the channel and put down those ringing frequencies without changing the tone. Graphic EQ has much more and precise bands to touch up sound. I also make a good tone to my effects to prevent feedback and enough reverb at necessary frequencies. Working live music is much more complicated, hard yet fun.
Thank you for great contents about x32 and please keep it up ❤️
HELLO I HAVE A X32 COMPACK BUT I STRUGLE WITH CLICK TRACKS I DON'T KNOW HOW TO SPLIT IT SO IT DON'T COME TO MY MAINS BUT ONLY SEND IT BACK TO DRUMMER IN EARS .PLEASE HELP I GOT A BAND YESTERDAY AND DIDN'T KNOW HOW TO DO IT THEN THEY HAT TO USE DIFFERENT TRACK WITHOUT CLICK AND THEY WAS NOT HAPPY 🙈
We got rid of most of our floor wedges, placed speakers correctly & no more feedback.
YES! It is magical reducing the stage volume and getting things placed correctly. Nice job!
You just had too much gain and too much volume
can you do this exact same topic but with the Behringer wing?
Can you show the same video with Allen and Heath Ilive T112 ?
I have a x32 producer which i will be taking your course to learn it better but my question is im looking to buy a X Air XR12. Is the air set up similar as the X 32's?
My first digital desk was an X32 so I'm fairly fluent in it, I've had the opportunity to mix on a friend's XR18 and it drove me nuts. It was very similar but not the same, a little lesser in every way and just close enough to throw off all my muscle memory. It was a pretty frustrating experience for me personally.
Great question. I would spend the extra to get the XR18 so that you can get the multi-track recording ability with a computer. The XR12 only has a stereo usb record to a usb drive.
With that being said I find that both consoles are very similar, yet different in a few ways. The XR18 has 1/2 the processing of an X32, so there are 4 effects racks rather than 8. You have 6 mixbusses for monitors, 4 mixbusses for effects sends, and you will find all of the effects, EQ, gate, dynamics to be the same as the X32. One major difference is you are not able to delay any of the channels or the XLR outputs of the board. This may or may not be an issue for you, but is one of the large differences between the X32 and the X-Air series.
I found it easy to swap between the X-Air and the X32, however I think you are going to find a 50/50 split on this question.
Hope this helps!
Why not use the 31 band graphic eq?
Hey Drew, instead of using matrix what about mixbus? You get 6 eq channels instead of 4.
Because you don't wanna affect your mix for feedback control if that mix is recorded or sent to livestream.
Using the matrix allows you to keep the mix "intact" so to speak.
Think of the matrix as your speakers channel.
Can someone tell me... Would it not be better ( or another solution) to cut the eq on the monitor of the singer instead of cutting the microphone, So you can use the eq on the mic for "better sound" out?
Most band pa and house pa do it that way, , kinda depends on if the singer always uses the same mic, but if different people use the rig or it always changes you have to adjust each time. Keeping good monitors is the hardest part always. Like a never ending task LOL
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Hi there,after dealing with the feedback,how can i eq the mic tone again?coz each channel only have 4band eq,it's not like a daw plugin can add many Q on it
You can send the vocal channels to a vocal subgroup and EQ the subgroup.
I'm getting feedback in-house from the online live sound how do I fix that
First and foremost, I think this is super informative and well intentioned, so keep it up. However, what works with one person in a room on a 57 does not necessarily translate very well to a live performance, especially a loud rock show in a club environment. Feedback typically presents as the high frequencies you're getting here, in the 6-8 kHz+ range, but when you get 12 open mics on stage and start pushing things through monitors you might find that the buildup of low-mid frequencies in the 200-300 Hz range is really where feedback begins. Taming that range can have a remarkable impact on the higher frequency feedback, not to mention it helps prevent the phenomenon where you continuously try cutting high frequencies so you can have a louder monitor mix, only to have the musician say it now sounds too muddy and dark. Narrow EQ bands can also create other weird issues because of the "shoulders" that pop up on either side of what you're cutting, which isn't displayed very well on most RTAs.
Absolutely! I have a video coming out soon about ringing out monitors, because controlling feedback is always a handshake between the FOH and Monitor engineers. Thanks for watching and the comments!
God bless brother i have a question why would i loose my output on my sub out to our monitor im getting input no out put it started with 2 wireless stizner mic the frecuencias were on the same channel made a screaching sound so i changed the frecuencias and everything sounded good we have the x 32 beringer x 32 compact everything works good excepto for bus 1 all the other buses are working on gratis on the in in ears so could you plz send me a video what to fix thank
FIRST SPANISH CHURCH OF GOD TOLEDO OHIO
SOUND LEADER ENGINEER
A few comments to add...
1. Rather than ringing out a mic, ring out the room on the FOH EQ, especially if feedback is a consistent across all the channels. It's fairly simple to send pink noise through the PA and an acceptable measurement mic can be had very inexpensively (Plus, it's also good for micing a piano...). Just having the room tuned a bit is a huge help, and it's something that you don't have to change constantly. You don't have to invest a fortune on things like SMAART and a degree in math to get good results. This also leaves your channel EQ available to build your mix.
2. Be sure to have good gain structure. I know that isn't the point of this particular video, but really, everything in a live mix needs to have a good gain structure as its base. You don't need the faders up at nominal in building your mix. Set the input gain going in and mix up from the fader. You'll have better sound quality, too.
3. Be careful with compression. Another name for a (misused) compressor is "Feedback generator." Learn to use them correctly. It might seem outside the scope of this video, but you'd be amazed at how often a poorly configured compressor is the source of feedback.
4. I rarely use an omni handheld mic, but on the other hand I rarely use a directional headset, especially if it is one of the small Countryman style sets like you are using in the video. That type of headset in omni generally requires less gain than its cardioid counterpart. Less gain required for good gain structure translates into more gain before feedback. I'll only use a directional headset, at least in a HOW environment, as a last resort. There's always exceptions, of course.
Well said! Also, if you don't want to invest into Smaart, Open Sound Meter is a free option which does really well! Check out out: opensoundmeter.com/
@@DrewBrashler Good product. Another one is Audio Tools. It's a bit cheaper for the base configuration, but includes RTA and FFT, which beginners can use, and goes all the way up to transfer functions for pros and add-ons.
Please Do Videos in Allen and Heath SQ6
Question, can a effect be added to the x32,if how is it done
The X32 is not able to have additional effects loaded into the console. However, you can use the X32 with Waves SuperRack Performer and utilize most all of the Waves Plugins. Check out some of my other videos for this!
how do you tackle feedback if you have a mixer that doesn't have a graphic display?
- use your ears
- get a graphic display from another source : frequency analyzing app, etc
Why not use Feedback Destroyer Pros?
how about the feedback that sounds lie straight bass and not the high pitch frequency? what causes that
Room acoustics mostly.
Thanks! Am a New sub.. If i may ask, precisely on gating as shown here pardon me but 'quite fast for me id love to learn gain reduction setting.. Hope you wont mind..
WAO ... I didn't Know you can sing ! 😉 Thanks for the video, Xcelent ! Please, can you check a question I did on your Waves SuperRack on the X32? about using de SR on Logic, and if its "Wise" to do that Live... Thanks !
Thanks so much! You can do it inside of Logic, however you would have a little extra latency as SuperRack Performer is coded to provide the least amount of latency possible.
As usual, people will ring out the FOH and cut the feedback using EQ of FOH. But, you are cutting the feedback using EQ of Mic Channel. Is it the reason for this difference?
I didn't go into system tuning in this case as I feel it is a bit more advanced and it deserves a video by itself. However, making sure the PA is tuned correctly for the room, and monitors are rung out is very important for controlling feedback. After I have done the tune and ring out, if I have a microphone on stage, I will then be cutting on the mic channel. If I find I am cutting on all of the channels in the same frequency, then I'll update my EQ on my PA.
Thanks for watching and the question!
@@DrewBrashler Thank you so much for your clarification. It's very nice solution of you that if all the microphones will be cut on all of the channels in the same frequency then you'll udate your EQ on PA. Because, if there are 2 different microphone brands on stage, then properly the frequency for cutting will be either different!
I understand feedback now 🤓
Nice!
you can also turn down the gain trim
And then how do you make up for the loss of volume ???
Feedback doesn't care if the volume is turned down on the gain knob or the channel fader or somewhere else.
👍👍👍👍
You made a nice presentation but at least 2/3 of people starting out in mixing won't have a $3K+ microprocessor controled & assisted mixer. Anyone wishing to learn mixing needs to start out with a basic analog mixer & learn to minimize feedback using individual channel equalizers before moving on to a 1/3 octave program channel equalizer. A tablet or laptop with spectrum Analyzer software can be introduced once the student has developed at least some skills by ear alone. Expecting someone to dive into mixing with a state of the art digital mixer is like getting a private pilots license by flying a 747.
Just add some downstream mids and include a delay, then you don’t have to run as hot lol
Hello sir I am from India...
Can I Use sm 57 in vocals in live shows
Sure, it’s exactly the same capsule as the sm58, the main difference being the grille.
Sometimes that is a preferred mic
Just as all of the comments below, YES! Love the SM57 on almost everything I put it on. Such a great microphone. You might want to find a windscreen for it if you are having a lot of plosives coming through the mic, but depending on the singer, you might not have issues with that.
Thank You Everyone 🇮🇳
I wouldn't call this feedback always known this as ringing eg the natural resonance of the room. Feedback is more when a mic is too close to a source reproducing itself and cutting frequencies will not solve this effectively. You would be better changing the direction of the speaker or use a mic with more sound rejection towards that source.
It s batter use a graphic eq to cut
Graphic EQ is much more capable in terms of reducing feedback/tuning a mic or a room.
@Spencer Halse - The graphic is less used today with parametric EQs available on each channel. They also do way less sonic “damage” to the signal. This includes even a main LR mix.
@@sound4uaudiovideorecording927 X32 is a powerful enough console to have separate DCA's for GEQ on anything being sent out, and can use a different EQ if it's being sent to stream, in ears, etc. If you're pushing a GEQ to the point of (noticeable for the audience) sonic damage, then you likely have bigger problems. No one in the industry where I am based used parametrics to ring out a room.
@@spencerhalse, I agree 100%. The channel EQ is for the person, not ringing out the channel.
I love using the GEQ and I know a lot of friends who use them exclusively. I choose to reach for the 6-Band parametric EQ that is built into the mixbusses for tuning or ringing out a floor wedge/PA mainly because of the adjustable Q. If I find that the 6-band isn't enough adjustment, then I will grab the GEQ as it adds a little bit of latency.
Why use fader rather than gain knob?
Why use the gain knob ?
The gain knob is for gain staging.
Because gain staging is the first thing in the chain to get max gain when ringing out and get more head room for the fader.
@@Christ_is_a_blackman100 Yes so use the gain knob for gain staging and the fader for volume and provoking feedback to identify it and tame it with EQ.
If you use the gain knob solely and leave faders at -inf nothing will happen :)
Something will happen, you will get feedback and it will be at max gain when you take out some of that frequency and more head room.
@@Christ_is_a_blackman100 you won't get feedback if the fader is at -inf....
You can't get feedback from a silent source ffs...
Compress the vocal,, squeeze it to have more control over dinamic range. and set a limiter. Cutting off pieces of vocal is cool but what if you gonna need those bands to adjust and shape the vocal. And you have one left😂
This is totally the struggle. Tone shaping vs feedback reduction. It is often a give or take mentality when trying to decide if you need the volume out of the channel or if you want the tone. Honestly, it is a decision I make on a case by case basis.
Thanks for watching!
Wedge monitor placement
Use a 31 bands for that
Thanks but you used speaker (person) and loudspeaker way too interchangeably
This does not work when you singing live with effects the gate does not work
How so ?
How so ?
This definitely doesn't work when the singer of the band you're mixing is an egotistical, pompous, prick who thinks they're a rockstar while playing covers at a bar or club gig on the weekend's. I couldn't tell you how many times I've tried to get it through their noggins to watch out with their vocal mic & the speakers. Yet, through the night they still point their mic at a stage monitor, trying to do their best pose. Or, better yet the one's who think they're Sinatra singing to some chick in the crowd right in the front of the mains that end up looking like a complete dipsh!t as she cover's her ears from the ear piercing sound. Like Forrest Gump said, "Stoopid is as stoopid does." 🤔🤯😵💫🤣 +Peace & Rock n' Roll 4 Your Souls My Friends+ 🤘😎🤘
@@216Numbskull haha OMG i feel you.
On a more serious note :
However this procedure explained in the video helps precisely for that. It gives you more gain before feedback.
Pretty sure you can ring out the wedge and FOH to the point where it's not ringing automatically if the mics are pointed at them at some point.
Vox mics being used from the crowd is not that uncommon : speeches during weddings, singers who wander into the crowd and keep singing, etc.
About the vox mic being pointed out at the wedge, it's not that uncommon when the mic is handheld. If you're at a hardcore show, even on a big band level (Terror, Madball, etc) : the lead vox mics get passed on between many people (and they often hold it down pointed at the floor or the wedge when not singing) or pointed at the crowd to get them singing, and even gets dropped or stays on the floor next to the wedges often. This is standard and you should prepare for it during soundcheck.
You should make sure the wedge is not ringing out (or at least try to get more gain before feedback) when the mic is pointed at the wedge.
Just start by hacking away 400Hz. Saves time every time 🤣
HAH! Good way of doing it.
Just reduce the volume of the floor speakers. If the talent wants more volume then they have to bring their own ear piece. You can’t just be filtering feedback the whole show
Good luck with that LOL, singers always want move volume, then they back off the mic and ask for even more. It’s a never ending battle.
Doesn't work that way IRL.
como cagarse en un PA en 2 toques jajaja
Mbok nganggo basa jawa wae mass... Nyong men ngerti
I might remove my ears tomorrow night