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Manual-4

Dynamic EQ Applications

Auto-Correct Microphone Proximity Effect

Use Dynamic EQ to automatically correct for timbre changes

due to the low frequency boost caused by the proximity eect

of cardioid microphones (see Figure 6), which occurs when a

singer/speaker does not remain a consistent distance from the

microphone.

Two opposite applications share this problem:

1. e rst occurs when the mic is located far enough from the

person that the proximity eect has no bearing (typically

a podium situation), then the speaker leans in closer to the

microphone causing a low frequency boost.

Start with a 100 – 250 Hz center frequency, a bandwidth of 2

octaves and a ratio of 3:1. Set the threshold high enough so when

the person is the normal distance there is no response, and only

when they move closer to the mic does the threshold kick the

lter into action.

2. e second application compensates for the loss of proximity

eect as the person moves the microphone away from their

mouth; typical of most hand held mics.

Solve this problem by perform the opposite routine as the po-

dium mic example above. Have the person hold the microphone

at the farthest distance from their mouth that can occur. Set the

Dynamic EQ so that it is just below threshold. Once they move

the mic closer to their mouth it will reduce the low frequency

boost. Since we have become accustomed to hearing the proxim-

ity eect try low ratios so that the tonality change is slight, but

remains more consistent than without the Dynamic EQ. Use

appropriate EQ on the input channel to add back in any missing

warmth – this warms the signal while the Dynamic EQ keeps

the tonality consistent.

Typical starting points are a frequency of 100 – 250 Hz, a band-

width of 2.0 octaves and a ratio of 2:1 depending on the desired

change in tonality.

Auto-EQ Changing Sound Sources

A great example is evening out the tone, or timbre, of a guitar

amplier. Using two channels set up for dierent tones is very

common to switch between a rhythm tone and a lead tone. Of-

ten the musician sets the lead tone brighter than the rhythm tone

so it cuts through better. e problem comes when the sound

system amplies this all out of proportion, resulting in too much

energy around 2 kHz – 4 kHz (a really nasty frequency range

due to the ear’s maximum sensitivity to this octave).

Setting the Dynamic EQ for a center frequency of 3 kHz and

a bandwidth of about 1 octave cleans this up. Set the threshold

high enough so that during normal playing nothing is happen-

ing. If the device uses relative threshold, once the lead channel

is used it will automatically see the change in timbre and apply

the Dynamic EQ to reduce the excess energy at 3 kHz relative to

the rest of the audio spectrum. You can also use this technique

to make guitar sounds “thick” and “chunky” without being over-

bearing by using the EQ section set in the 200 Hz range as well.

Improve Vocals

It is common for female singers to have a wide tonality swing

when shifting from a quiet breathy passage to a loud crescendo.

e voice sounds warm and pleasant during the quiet passage

but shows a predominance of frequencies in the 1.2 kHz range

for the loud crescendo. is is exaggerated when the singer

moves the microphone away from her mouth thereby removing

the warming character of the microphone’s proximity eect and

adds to the naturally occurring peak in this frequency range.

To x this, simply set the EQ section to the problem frequency

(typically 1.2 kHz) and set the threshold so that the compres-

sor only kicks in when she sings the loud passages. Use the ratio

control to determine exactly how much of the original tone

change remains – low ratios leave more change while high ratios

clamp down hard and allow very little change.

Create Radical Sounds

Dynamic EQ lets the user create sounds that change tone with

level, or at extreme settings, which allows the creation of radical

sounds based on the threshold, attack & release times.

Experiment – the results will amaze you.

Figure 6. Microphone Proximity Eect (courtesy of Shure Inc.) Low

frequencies rise as the sound source gets closer to a cardioid microphone.

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