From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Monitor System Peaks
Date: Wed, 16 Dec 1992 15:21:08 GMT
Organization: Colorado Concert Sound

In article <1992Dec16.012817.9601@ac.dal.ca> cullen@ac.dal.ca writes:
>Galen Watts writes:
>>>BTW: anybody got a good way to figure out the peaks in a monitor system
>>>(with out a spectrum anylizer:):)
>>>Jack Van Breen (standard disclaimer, these are my own ...)
>> Yes, we do it all the time with a readily available acoustic measuring system
>> Our Ears.
>
>The cheater's way is to get it near the "regeneration point"* and start
>slowly boosting each band untill it rings and then pulling it down, the 

The only problem with boosting the EQ is unless it's a very good one, you get
other frequencies outside of the band your tweaking going up and down also.
Sometimes the EQ is wired so octaves are summed on the same amp so you get
interaction of octaves and octaves are hard to tell apart in a noisy situation.
>
>Commonly referred to as pitch or ear training in music circles. I actually 
>had a sax player tell me that the monitors were ringing just a bit at
>B below middle C, and boy, was he surprised that I got rid of it instantly.
>Also, as an aside, musicians never believe me when I tell them that
>really good engineers have really good pitch, but you gotta, not in terms
>of note but in frequency, and you have to get the harmonics, as well as 
>the fundamental.
> 
>> One thing that really bugs me is monitor engineers who use the 31 band eq's
>> for tone shaping, like when they grab 500-2400 Hz and pull it all down so the
>> "curve" on the sliders looks good.  31 band eq's were meant to NOTCH out peaks,
>> not as a Bass-Mid-Treble device.  
>> You cannot boost and you cannot cut more than 6dB without changing the response
>> of the EQ outside of the band your adjusting.
>
>Well, sometimes you do what you have to do. If you have a howl at 6.3kHz, 
>from really bad reflections, and a mic with _PRESENCE PEAK_(ARRGH), sometimes
>you have to do the big scoop to save the gig, obviously at the expense of the
>monitors. 

Next time, try shifting the monitor cabinet a little, even as small as a few
inches can make a world of difference at 4k on up.  We try to put the monitor
to one side of the mic stand so the reflections go to the other side and not
into the mic.  WATCH OUT FOR COWBOY/BASEBALL HATS.  If we're doing country, I
wear a cowboy hat when I check for rings.  You'd be amazed at the difference.
( Or maybe not )
>
>
>But, seriously, I have seen a disturbing trend of dual operators locally, 
>the band soundman, who mixes, and the PA tech, who fixes the graph over 
>his shoulder. Even in Arena gigs. This is crazy! Why does anyone 
>bother to pay a soundman for a tour if he has to be Babysat?

Because the band's guy is usually some band member's friend/brother/cousin/
lover who needs a job.  When I babysit,  I set the EQ before (when possible)
the band's people get there.  If they readjust the EQ, I don't touch it, but
I do keep a sharp eye on the overall limiting.  We did a gig where the band's
manager was the soundman.  Never lend this guy a car, he drives with the pedal
on the floor constantly.  This was the only gig I saw the promoter come out
with four security guys and haul the band's engineer away.  Needless to say,
the sound improved immediately and immensly.  In fact, I had to turn down the
band's offer to mix the rest of the tour.

Can't close the door when the walls cave in.
Galen Watts