Not long ago I wrote a post about EQ and what the numbers mean. It’s one thing to be told that humans can hear 20Hz to 20kHz and that we consider 1,000Hz (1k) the mid-way point, but it’s another thing to  know what a kick drum actually sounds like with a bump at 2k and some low mids cut out at 400Hz. In this post, I’m going to talk a little about some of the basic concepts I use when applying EQ. I’m also going to give you some tools to help you along the way… if you haven’t found them already. The first concept I’m going to mention though, has nothing to do with EQ!

A common technique I see in churches, especially ones on a tight budget, is the use of a compressor on a subgroup. The thinking is that rather than having to purchase 4, 6, or 8 channels of compression, the user will just get a 2-channel unit, insert it into a subgroup, and then whenever something needs compressed, they will route it through that subgroup instead of straight to the master output of the console.

Ideally, if something needs compressed, you should insert your compressor into that input’s channel directly. By routing everything through a subgroup, the compressor can have some ill affects on your mix, and you may be adding more frustrations than your solving.

Monitors are one of the most common battle grounds where band and engineer face off and play tug of war week after week after week. Too commonly the band needs to hear more of themselves, and the engineer needs to hear less of the stage noise. To the musician who only plays Sunday mornings, the ideal monitor mix sounds much like the worship CD he or she listened to on the way to church. Professional musicians know, however, that a good monitor mix has a specific goal.

No. No. No. I didn’t run sound for the iconic rock band who may or may not be knights in satan’s service. Oh no- I’m already off topic.

This blog post is going to be about one of my rules for running sound: KEEP IT SIMPLE STUPID. Me. I’m the stupid one. Not you. OK? Don’t get offended.

The other night I got to use the Yamaha M7 digital console, which has tons of available plug-in, EQs, compressors, gates, FX, blah, blah and really cool blah… Instead of a standard FOH package with 8 comps, I could, if I wanted, put a compressor on every channel!

I just got done posting 3 sections of audio files in a new “Download” section. Before making my own files, I researched the web for a product out there that provided these type of tracks. I found none. The 1 product I did find was $80 plus shipping from the UK, and it was produced in a recording studio! My files are NOT produced, and it’s on purpose.