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How to pronounce khz in English?

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Here we are again, for part 13 in our series of “How to Mix Live Music”.
This time, we are going to be EQ-ing vocal mics.
The human voice is so versatile and varied amongst male and female,
that you might think each style will need different treatment,
but actually there are just a few basic principles to be applied.
And remember for a live performance,
most singers should be using a dynamic cardioid microphone.
You know what’s coming first?
Reach for the High Pass Filter!
On the TF mixer, you can raise its frequency
to about 125 Hz for male vocals, or 200 Hz for females.
If using an MGP mixer, I would always reduce the low shelf by 3 to 6 dB.
This is particularly important
if the microphone is being held very close to the mouth.
And here’s a trick for TF users:
convert the low shelf into a peaking band,
and center it around 80 Hz.
Give it a Q factor of about 5, then reduce it by 6 dB or so.
That will eliminate any problem with explosive “P” and “B” sounds.
Next, listen if the vocal mic
is picking up a lot of cymbal sounds from a near-by drum kit.
If so, reduce the high shelf a little to compensate.
Next, we need to be ready to deal with any feedback.
It is often the vocal mics that cause problems,
as the singers might need high levels in their stage monitors.
Hopefully you’ve already positioned the speakers and mic stands carefully,
and used a graphic EQ
to eliminate the problem frequencies from the speakers.
However, if the singers move around, a squeal of feedback can be created.
So be prepared, and try moving about with the vocal mic before sound-check.
If there are certain frequencies that start to feedback,
reduce them with a mid-band EQ.
TF mixers have an advantage here
with their 2 mid bands and the frequency analysis shown on the screen:
you can see the feedback when it occurs!
Use a Q value of between 5 and 10 to fight the feedback,
without disturbing the character of the sound too much.
Due to the risk of feedback,
I am not even going to suggest any EQ boosting: only cutting!
If there is too much sibilance in the sound, with emphasized “S” sounds,
and try reducing the mid band around 5 to 6 kHz.
If the voice sounds too shrill, reduce around 2 kHz.
If it's too nasal, try reducing around 1 kHz.
If it sounds too muffled, reduce around 400 Hz.
I strongly recommend to every mixing desk operator
to find time, plug in a vocal mic and some headphones,
and adjust EQ for your own voice.
Become familiar with how the sound changes
as you adjust each Gain and Frequency.
The words “One Two” are often used by sound engineers,
as they contain a broad range of frequencies.
“Kiss” is a good word for testing sibilance,
and “Plump” or “Bump” for testing those 80 Hz plosives.
If there are several singers working together,
don’t necessarily try to make them all sound the same!
Use the EQ to reduce any harsh qualities
which are emphasized by the microphones,
and let the natural beauty of each voice be heard.
Lead singers will probably want their lyrics to be understood:
so reduce frequencies other than 2 to 3 kHz to preserve intelligibility.
Backing singers however,
may need the effect of their consonants to be reduced,
so they don’t mask the lead singer.
In that case, try reducing 2 to 3 kHz a little.
Try to hear the difference between these two clips.
One with the mid band reduced at 1 kHz, and the other at about 2.5 kHz.
Finally, the best help for getting a good vocal sound is
good mic technique from the performer!
Watch an experienced singer,
and they will instinctively move the mic further away from their mouth
when they sing harsh consonants and belt out some extra high notes.
That is very helpful for a sound engineer!
On the other hand, here are some less helpful habits:
Cupping the head of the mic will muffle the sound for example.
Holding the mic so it touches the lips will emphasize the lower frequencies,
Holding the mic too far away
will increase the sounds from the other instruments on stage,
and increase the risk of feedback.
Putting a hand over the mic will increase the chance of feedback,
as the hand reflects more sound back into the mic head!
Be ready to react to all these occurrences.
A quick gain reduction of the mid band,
and a change of mid frequency can be enough to compensate,
without drastically changing the sound level or character.
Regular adjustment might be necessary throughout a show,
as the singer moves around, gets tired,
or gains confidence to reach some extra high notes!
Well, thanks for joining me for this session.
We have now EQ’d the whole band.
In the next session, we’re going to be adjusting pan.
It’s a very creative tool in studios and cinema,
but what can we do with it live, when the audience is so spread out?
See you soon!

Here we are again, for part 13 in our series of “How to Mix Live Music”.

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khz::noun | Spocien Dictionary

khz

noun

//

one thousand periods per second

Type	Words
Synonyms	kc, kilocycle, kilocycle per second, kilohertz
Type of	rate

How to pronounce khz in English?

khz::noun | Spocien Dictionary

abandonment

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