Quarantine Questions

As you are all aware, everyone in the world is pretty much confined to their living rooms, as such, we have decided to make a bit more content for you. This is a little mini series chatting with different techs about all sorts of real world issues and topics relating to Live Sound. First few interviews are up, with more on the way!

Take a look!

Stay safe everyone.. Happy Quarantine!

Dante Certification Level 2

As the Audio world advances technically, its important to stay ahead of the game. For this reason I’ve been working on getting the best training on the best and most useful updates to our industry. Which means that I’m now Dante Level 2 Certified.

Dante Level 2 Certificate

I look forward to putting this training in to more use in the near future.

dante_certified_logo_level2DBA New Site Icon

Dante Certified – Level 1

As the Audio world advances technically, its important to stay ahead of the game. For this reason I’ve been working on getting the best training on the best and most useful updates to our industry. Which means that I’m now Dante Level 1 Certified.

dante_certified_logo_level1DBA New Site Icon

Getting the most Level out of your system – Beginners Guide to Graphic EQ

So you have a sound rig, and every time you push the volume on the desk, an annoying whistle of feedback scuppers your day.

This issue can be made even worse when a microphone is in front of a speaker, or pointed towards it. You may think that theres nothing that can be done to fix the issue, and either brace yourself for glaring feedback every so often, or keep the level lower in the room and often face complaints from the audience.

In order to fix the issue, you are unfortunately going to need to recreate the feedback.

If you have an Analogue Sound desk, you will probably need to purchase a Stereo 31 Band Graphic EQ, (maybe more if you have Matrix sends or wedges). If you have a digital desk there will be Graphic EQ’s built in, its just a case of finding them in the menu, and inserting them over the relevant outputs. For this blog we’ll assume only a graphic over Left & Right, and that its a Analogue desk.

Some good models are DBX 231, BSS 966, Klark Teknik SQ1.

There are two main ways to add a Graphic EQ into your Analogue system, you can either Insert it over the offending channel or output, or simply add it in line after the desk.


Most desks have the option to insert, like this Zed R16.

ZED-R16 Insert

Looking more closely at the input and output sections, we can see that Input wise, there is XLR and Jack in, and then an Insert for a Compressor, Gate or Graphic EQ (Red Box).

This can be exceptionally useful if its only one troublesome mic, like a lectern in front of the speakers, and needs quite a drastic EQ, that would make the rest of the system sound terrible.

ZED-R16 Insert copy

And Below the XLR outputs, there is a separate 2 track output, and then the Inserts for Left & Right (Yellow Box). This can be used to insert a graphic, external compressor, vintage EQ, limiter.

EQA231 rear

The back of each Graphic is very similar, they need power, and then have XLR In & Out and Jack In & Out for each channel. Some have extra multipin Ins/Outs to save on cable.

To Insert one channel of Graphic, you would need a stereo Jack to two mono Jacks, or Stereo Jack to 2 XLR’s. If they are wired correctly the Red should be the output of the Graphic back into the desk, and the Grey/White/Black depending on make, would be the signal from the desk into the Graphic. Its fairly simple to workout if its wrong and just requires repatching the graphic.

insert_diagram Stereo to mono jacks

In Line

This is the simplest way to add a graphic into your chain. Take the XLR L&R Outputs of the desk and patch them into the graphic, then take the outputs of the graphic back into the next item in the chain (Amprack / Speaker Processor / Multicore).

There.. I said that was simple.


For each of the specially selected frequencies on a graphic EQ, there is a fader that can either give +/-6dB, +/-12dB or +/-15dB of gain to the selected frequency.

Apart from 31 faders for each channel of graphic, there are a few controls to get your head around. Some of the physically smaller rack units limit the faders to +/-6dB of gain, and then give you an overall switch to change to +/-12dB of gain – essentially doubling the range of each frequencies gain reduction.

Gain, how much has the graphic affected the overall sound from before it was patched in to being fully set. Try and set it up at the same level as the unit bypassed.

BSS 31 Graphic

Low Cut Button / HPF Knob, this allows you to reduce the low end going to the amps / speakers. Helpful if your not using a crossover, or only have tops. Meaning that low end won’t be going to a small speaker thats dealing with the upper frequencies.

DBx 31 band graphic 231

Bypass is a useful one, checking that when you have removed the offending frequencies, you haven’t removed too much of the sound. Sometimes when you bypass the Graphic the sound is better, if so start again!

Removing Feedback

As I said above, in order to remove feedback, you have to create it. When you turn up the mic to the point of feedback, and then find that particular ringing frequency, and pull it down on the graphic. One easy way for beginners to learn what frequencies are feeding back is to use an RTA app on your phone.


I use “n-Track Tuner” which is a nice dark display for dark stages. There is a free version, but I use the Pro app, which has several other features and display options. As you can see, it allows you to tell where problem frequencies are and allows you to sweep your finger along the graph to see the exact frequency.

If you want to improve your ears, I can recommend using these apps (link below) on your computer. They are designed as a little game for you to workout which frequency is the tone emitted, and allowing you to learn what different frequencies sound like.

Feedback trainer – Mac & PC


I hope this was helpful. Leave a comment below about your experiences.


What is a good distance to speak into a lectern mic?

This is a question that I get asked all too often.

Ideally, you should be standing upright in a comfortable position. With Lectern mics, its best if you don’t wander around, and ideally keep facing forward whilst speaking. The more movement and head turning there is. The less likely you are to have clean audio.

This slideshow requires JavaScript.

Obviously every mic is different, and some may require being closer to your mouth than others. As a general rule, about 25-35cms (~1ft) is ideal.

Screen Shot 2017-05-04 at 10.44.29.png

What’s in the Peli?

I carry a pretty comprehensive toolcase with me to most gigs. It has grown significantly over the last few years. When I started out, just carrying Lx tape, Sharpie, Leatherman and Torch shoved in a rucksack got me by. Nowadays, there is a higher expectation on my to have everything and make the gig work, even if broken equipment / cables have been sent out! This list of stuff rarely changes, and whether i’m travelling as a Band Engineer, Sent off with a van to a function gig, or putting up PA Systems and 60″ Tv’s at Corporate Conferences / Exhibitions as an AV Tech, all the things have been used on one gig or another.

IMG_3252IMG_3250 Continue reading

Beginners Guide – Cables

Cables! These connect the world together – literally! Your setup, be it home studio or Stadium PA with huge line arrays, is only as good as your cabling. You can have the best equipment in the world, but if your cables connecting them together are broken or damaged, then the resulting sound quality will be affected.

This should be a relatively short blog post, as I only have a few headings to cover in this section. I will only be looking at Audio Cables, however some for them uses include video and lighting.

Continue reading