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Author Topic: acoustic guitar feedbacking through PA  (Read 3049 times)

Funk-O-Meter

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Re: acoustic guitar feedbacking through PA
« Reply #15 on: August 22, 2006, 12:30:19 am »

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A good monitor- some thing like a Yorkville Elite or one of those powered Mackies at the minimum.


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BARE minimum.  And the powered Mackie isn't a good choice for monitor wedges because of its horn angle.

The Rat/Radian Microwedge is a much better choice.  Spendy, though.


I hear you on that, but I doubt our friend has such a tasty bit of kit. I meant to illustrate that if he's got a Yammy 12 w/a peizo horn he's out of luck.

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A graphic EQ- You're gonna really need a 1/3 octave (same as 31 band) EQ to pull out the offending frequencies.


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A parametric inserted on the guitar channel is the pro's preferred tool.  Why?  So you don't destroy the tone of the wedge with the cuts you might end up with on a standard 31-bander.


If he's running a single small mixer for his whole show, inserting a parametric in the channel will affect both monitors and mains. Using a graph between the send and the amp/powered wedge is A. easier to use as parametrics are Greek to some people and B. won't affect the house mix.

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Actually, the cool trick when you don't have a separate monitor desk is to split the channel.  Use one channel for FOH (perhaps inserting a compressor or whatever) and use the other channel for monitors.  Insert the parametric on the monitor channel if necessary.


That works great, I do that all the time myself. I like it for adding compression to vox with a pa where there isn't a split monitor rig. Same with gates. Still, a graph is easier to deal with in a live situation unless your really familiar with a parametric. I agree that the parametric is the better way to go if you can deal with it. But if your a one man show, a graph is easier to deal with.


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re: ringing out wedges -- yes, very important, although a 12 dB cut is just plain wrong.  Don't forget that if you have both the vocal and the guitar in the wedge mix, you end up with two different path lengths and some odd potential feedback combinations.  I've seen guys simply hack the graph until there's nothing coming out of the wedges yet the send is clipping.  Splitting both vocal and guitar and using the channel strip for each works better than hacking the graph. -a


That is if your board's aux sends are post EQ, which I've grown to prefer because I can split inputs as you described and use the channel eq's. Most club engineers I run into can't honestly get their brains around that. I don't know why. I love it. But if not, your gonna have to put an EQ somewhere in the chain.  Yes, a 12db cut is wrong. Idealy if you have to cut that much you need to address your gear and mic placement. Hacking a graph to peices is a travesty as well, but it happens! More often then not because the wedge/mic is crap or the operator has no comprehention of the physics involved. Or all of the above.


whicever way you want to go with it, he'd gonna need a decent wedge and an EQ of some sort.


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