Searing75 wrote: ↑
Sun Jan 14, 2018 9:31 pm
I’m curios as to how many who have disagreed with my upside down smile eq have run sound? Not trying to suggest anything here, just wondering. I have run sound for a handful of bands for a long time, and every room I have ever done always had the upside down smile going on. Now, I am speaking of the master eq. The overall eq for the whole pa. The extreme lows are cut as well as the extreme highs. I know other engineers who also run their PAs by this rule. I have never, in 25 years experiences a different eq pattern. Yes, some tweaking here and there occurred at different bands, but the upside down smile was always a constant. We are talking about frequencies that are below and above a humans ability to hear! Cut them out! Avoid sub sonic, and sibilant madness!
Well, when you say upside down smile, merely dumping sub and super-sonic frequencies is not what comes to mind. Certainly I will use a high pass filter on just about every channel and sometimes the main L/R. Definitely on the monitor channels.
I will also note that sibilance doesn't come from the very highest frequencies, but the lower high frequencies, usually around 4khz or so. Dumping those frequencies results in a dull sound, with little clarity. If something sounds sibilant, it's not beyond the reach of human hearing.
So, maybe we don't disagree as much as I thought, but it might be useful to spend some time learning the generally accepted terms used in sound reinforcement. If you were at a gig and told the engineer to give the PA an upside down smile or a frown curve, you would end up with something that really doesn't sound very good.