Mitch Gallagher offers his personal choices of reference tracks for testing speakers here. There will be times that you cannot fix all the acoustic issues in a venue with EQ, but this is a good first step to getting the best out of the equipment in this venue. Then continue moving around the room, repeating the process until everything sounds clear and balanced. Are low frequencies overpowering everything else? Do unwanted frequencies stick out? Are portions of the mix being masked by other elements? After you’ve familiarized yourself with the deficiencies of the room, adjust the curve on the GEQ to mitigate them. Play the track and listen while walking around the room. The purpose here is tuning the system to sound as good as this source material sounds on other systems in other venues. Start with a high-quality reference track played back through the mains - something that you’re intimately familiar with and have listened to in many different venues and listening environments. Step one of tailoring a PA to a venue doesn’t require any more than a set of well-trained ears and can provide you with an excellent starting point. This will ensure that any tweaks you make to the main mix won’t affect the outputs to the monitor mixes. Also, make sure your monitor mixes are set to pre-fader rather than post-fader. If you’re mixing the house in stereo, you will need either a stereo GEQ or two mono GEQs for the left and the right so you can EQ each side independently. Digital mixing consoles will often have graphic equalizers built into them, but if you’re using an analog board, then you’ll need to use hardware. Insert the GEQ between your console and the power amplifier or powered speaker for every mix that you’re sending out of your console - mains, monitors, etc. The Graphic Equalizer - A Live Sound Engineer’s Best FriendĪ graphic equalizer (GEQ) is the primary tool you’ll need to optimize your PA for your venue, with a 31-band being the most common. But, the PA in any space can be tuned for better sound using a few simple tools, some patience, and a bit of know-how. You’re not going to transform a bad-sounding dive bar into Madison Square Garden. Okay - before we get started, we need to set appropriate expectations. So, how do you do that? How do you convert a place with poor acoustics into a great-sounding venue? Whatever situation you find yourself in, it’s your job to make the space sound good. Real-world scenarios typically involve run-down pubs with subpar PAs, churches that were built well before electric amplification was invented, or rectangular spaces with metallic slapback and modes scattered throughout the room. It would be great if we could always run live sound in world-class venues with meticulously tuned PAs and great acoustics, but let’s be real - that’s rarely the case.
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