BRING IT TOGETHER
After I’m satisfied with the overall sound of the rig, I bring in sources that will be used onstage and slowly add them in together. Again, in my world, this can mean a lectern mic, a series of table mics for a panel discussion, wireless lavaliers as well as wireless handheld mics for “Q & A” from the house.

I adjust each individual channel for feedback and tone using the same fishing techniques used on the 1/3-octave EQ. Bring the fader up to the “0” position, and slowly bring up the input or trim pot at the top of the fader until there’s a good level.

For a simple panel discussion, in general I’ve been able to set the mics at 75 percent open and then ride them up and down as the individuals make comments on mic. Having every mic 100 percent open can add noise to a system and create additional feedback problems.

If faced with wireless lavalier mics, there may be need for some pretty severe adjustments to the 1/3 octave curve. Make notes of these adjustments and compensate for them on each of the other non-lavalier sources, with individual channel EQ to make up the difference.

For example, if you’ve just rung out the room and start working with a series of lavs that need a huge dip in the 400 Hz range, compensate on the other channels by bringing that range up a bit. If there are wireless handheld mics in the house, have someone stand out front and “bless” the main loudspeakers by making a papal, sweeping motion in front of them with the mic. The last thing anyone wants is for someone to walk in front of those loudspeakers with a hot mic that hasn’t been tested.

See, sometimes there actually is a little method beyond the madness we all endure. After a little thought and experimentation, it can be as easy as one, two… 

You didn’t think I’d actually say three?

Paul LaPlaca has been working with sound for more than 25 years and heads up Stentor Productions in New York, specializing in the corporate audio market.

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