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Friday, March 30, 2018
Conquering The Beast: One Engineer's Battle Against The Ever-Present Threat Of Feedback
ProSoundWeb: There is a beast that stalks all live events, wherever they may be. It lies quietly and patiently as amplifiers are connected to loudspeakers, it sits up alert and attentive when microphones are plugged in, and it crouches, poised and ready to pounce when faders are raised.
1 comment:
Sydney Asselin
said...
In high school I was very fortunate to have a digital sound board (the Behringer x-32) with a visual EQ, so figuring out feedback was much less of an ordeal than this writer's. When there was feedback, it was obvious where it was, so ringing out the PA took at most ten minutes, and controlling feedback during a show rarely messed with the mix. I am really grateful to have had that equipment available during my basic sound education; being a very visual person, I was able to see what I was doing to reduce feedback in a much clearer way on the digital board than on the analog board (that did not have a visual EQ). I learned much more about how different voices and different instruments work in a visual EQ than I could try to visualize in a tiny analog mixer. I also feel the writer's pain with egotistical guitarists. High school guitarists are even worse. In their minds, volume = gain = awesomeness, and that mentality alone ruined many a mix. When we were able to finally convince them that the board op knew better, we were able to control feedback, and therefore the mix, a lot better.
1 comment:
In high school I was very fortunate to have a digital sound board (the Behringer x-32) with a visual EQ, so figuring out feedback was much less of an ordeal than this writer's. When there was feedback, it was obvious where it was, so ringing out the PA took at most ten minutes, and controlling feedback during a show rarely messed with the mix. I am really grateful to have had that equipment available during my basic sound education; being a very visual person, I was able to see what I was doing to reduce feedback in a much clearer way on the digital board than on the analog board (that did not have a visual EQ). I learned much more about how different voices and different instruments work in a visual EQ than I could try to visualize in a tiny analog mixer. I also feel the writer's pain with egotistical guitarists. High school guitarists are even worse. In their minds, volume = gain = awesomeness, and that mentality alone ruined many a mix. When we were able to finally convince them that the board op knew better, we were able to control feedback, and therefore the mix, a lot better.
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