Sound Processing

To many ads? Support ODJT and see no ads!
B

Bassmaster84

New DJ
Jul 23, 2008
58
0
57
www.hotspotsdj.com
Had a chance to see a fellow DJ that I regard highly work this weekend. His configuration was some JBL 15" speakers/B-52 dual 15's/EV sub. I also noticed a dbx 266XL in his rack. He was busy doing his thing and I didn't want to interrupt so....

I am not currently using any compressor/gate. I see the dbx 266XL is not an expensive piece of gear.

What does it add? Do you currently use a dbx or equivalent? I want the good and the bad.
 
Basically all the compressor does is (if set properly) idiot proof your system, (unless it is being used to control SPL from a mic or mics)!

The gate drops out the sound input at whatever DB it is set at (used mostly for mics)
 
Mic

Thunder, I do tend to push my mic to almost feedback level. Close proximity to speakers does that (as we know). Thunder, you are a sage of advice on here. I appreciate your help.

1. Is a compressor/gate the best answer for mic feedback?

2.What EQ or other processing do you use to "sweeten" your system
(playback only-not live music)?

I'm not looking just to spend $, but if I can improve my system's sound I'm always going to make the investment.
 
Processing can only do so much...

If you don't have very high quality speakers to begin with, Then a bunch of processing won't do you much good.....Like they say "You can only polish a turd so much"

Could you tell us a little more about the gear your running??
 
Configuration

Our audio chain is pretty basic right now:
Allen&Heath ZED-14 mixer-QSC RMX2450 amp-Yamaha S115V speakers (4).

Goals are:
1. Add (2) 18" subs/amp(s)/crossover
2. Suppress mic feedback
3. Enhance playback music (if possible or practical).
4. Anything else we should be doing (but don't know to ask) :sqbiggrin:
 
The best answer for Feedback is proper mic/speaker placement.

If you aren't looking to do anything to your overal program sound or output, and are just looking to help with feedback on mics, I'd consider one of the feedback destroyers out there.

The Behringer Shark DSP is a handy little gadget and is inexpensive as well. Its not rackmount (though it can be), and its small enough to carry in your gig bag. Use it when you need it, take it out when you don't.

As for the program sound, I personally am a fan of the BBE processors, and you'll hear various opinions on those units too. Investigate your options very carefully when it comes to sound processing. While there are things that can help certain aspects of your sound, the best processing is no processing at all - just good equipment and knowing how to use it.

My rule of thumb for sound processing would be two-fold:

1. Sound processing isn't for you if you're just looking for "that extra something" but don't even have anything in mind. You should use processing only as needed to accomplish certain goals and you should be aware of what those specific goals are and carefully investigate your options (preferably with your ears) before deciding on a solution.
2. Don't skimp. Bad processing, good processing applied wrong, or the wrong tools used for the job, can take the life out of your mix, sound like garbage, or even damage components. If you know what job needs to be done, find the right kind of tool for it, and spend the money it takes to do it RIGHT!

Processing, as a rule, in my opinion, should be done to enhance program materials for the acoustics involved in any given situation - not as a means to "compensate" for inadequate, poor quality, or incorrectly used equipment. Not saying you have bad equipment or dont know how to use it - just saying in general.
 
There is no need to push the mic to feedback levels!

Proper gain settings (play around with it some)

Proper mic EQing (reductions in the 150 hertz and below ranges and reductions in 800 hertz and higher then if need be increase the mid range frequencies in very small increments)

Good to better quality mic Shure Beta 58 or better (mics with good tight patterns)

Proper mic handling skills don't choke the mic (wrap your hand around the ball) and don't shove it down your throat (eating the mic)! Learn to speak with a good strong vocal keeping the mic about 2 to 4 inches from your mouth and enunciate clearly and you won't need nearly as high of a gain on the mic! Don't try to side address a mic unless the polar patterns are designed for side address, face the head of the mic directly to your mouth!

Compression isn't really going to do a whole lot to cut feedback but it will stop you from blowing out the mix with a sudden loud burst, yell or shout!

Unless you are going for a vocorder voice of some type you really don't need effects such as echo or reverb on your mic for DJing in general it will make the spoken voice unintelligable!

And like Sounds to go I am also a fan of sound processing like the BBE however I use the Kosmos, but Apex and several others are all good too, the key is to add process lightly!
 
We've had a DBX C/L in our processing chain for years. I highly recommend them.

Any time a mic is used, some form of compression/limiting should be used. It can help to squelch mic feedback when you're using pro quality mics as Steve mentions. Also, it can protect your horn drivers when some bonehead drops a mic.

The nice thing about this unit ~ it can place a ceiling over your output from the mains or FOH. If you're working in a venue where there are noise restrictions (like a hotel ballroom where guest rooms are close by), limiting will keep your sound from getting too loud.
 
Thunder said:
There is no need to push the mic to feedback levels!

Proper gain settings (play around with it some)

Proper mic EQing (reductions in the 150 hertz and below ranges and reductions in 800 hertz and higher then if need be increase the mid range frequencies in very small increments)

Good to better quality mic Shure Beta 58 or better (mics with good tight patterns)

Proper mic handling skills don't choke the mic (wrap your hand around the ball) and don't shove it down your throat (eating the mic)! Learn to speak with a good strong vocal keeping the mic about 2 to 4 inches from your mouth and enunciate clearly and you won't need nearly as high of a gain on the mic! Don't try to side address a mic unless the polar patterns are designed for side address, face the head of the mic directly to your mouth!

Compression isn't really going to do a whole lot to cut feedback but it will stop you from blowing out the mix with a sudden loud burst, yell or shout!

Unless you are going for a vocorder voice of some type you really don't need effects such as echo or reverb on your mic for DJing in general it will make the spoken voice unintelligable!

And like Sounds to go I am also a fan of sound processing like the BBE however I use the Kosmos, but Apex and several others are all good too, the key is to add process lightly!
Click to expand...

All true. However, I would highly recommend a compressor/limiter no matter how you process, for safety's sake.
 
I use compressor/limiter on certain mics to protect the speakers. This unit will not help with feedback at all, in fact, it could cause more feedback issues if not careful!

If you gate the vocal mic, and crank it up, you'll get no feedback...until somebody talks into it, then the gate opens, and then suddenly you've got feedback. It might possibly limit how loud the feedback is though.

your best bet is either a 31band EQ inserted in the vocal channel, or some sort of feedback destroyer. I haven't ever used one, but I've heard that the sabine units were pretty good, and can be had for a good price on ebay. However, a lot of DJ mixers probably don't have insert points, so you'll have to find one that you can plug a mic directly into (it will have a pre-amp) and then into your board.

I wouldn't put it on the output because then it'll try to detect feedback in your music also, and if you have some sporadic loud parts, it might cut those frequencies down and you'll lose the dynamic range of the music.

If you go the 31band EQ route, then check into a Peavey with the FLS. Before the show, crank up your mic, get some feedback, and watch the EQ. A light will be bright at the feedback frequency, then you can just slide that one down a bit. Do it again and again, getting louder each time till your happy with the output, but I wouldn't cut more than 3 or 4 frequencies or you'll start to lose too much. Again, don't put it on the output, insert into the vocal channel. If you don't have an insert, this won't work for you.
 
Dont use any processing as mentioned above
but I do use a Behringer EQ with feedback detection.
works like a normal EQ, but it can "light up" the offending frequencies when you feedback, so you can drop the fader on the EQ and reduce it.
I usually put my wireless on the dance floor when I am setting up, and raise the volume till I start to squeal...then check my stationary micas well.
It works like a charm, but remember, when you EQ out a frequency for feedback, you also eliminate it from your sound...unless you have an EQ which is ONLY for mic's.
 
You must log in or register to reply here.
Top Bottom
Back