Performing Mic Checks

One of the key tasks for a live performance is vocal mixing, though before a show begins you must perform an effective mic check. This involves setting the gain, an acceptable volume plus overhead room, performing EQ for clarity, and enabling compression for comfort.

Before you worry about EQ or compression it is absolutely important to first ensure that a performer's microphone is delivering a suitable signal to the mixer. Begin by isolating only their microphone (press the ON button for the Yamaha TF-5 channel), turn off all other mics or sources, and ask the room for quiet so you can clearly hear the performer.

Overview

This is the heart of the process you will follow for mic checks so it comes before all other content. Once you know what to expect you can return here to review as needed.

Turn ON the performer's channel and begin with the fader at infinity (all the way down).
Have the performer confirm their microphone (handheld or body-pack) is turned on, and is not muted.
Ask them to speak normally but also to PROJECT as they would during their performance.
Select the INPUT configuration area for the channel and watch the gain indicator markers.
Raise the gain until the performer's speaking causes the middle indicator to remain green most of the time.
Slowly raise the fader to Unity (0) and listen for any obvious feedback, and continue to adjust gain if needed.
The goal at this point is to ensure the performer is at a consistent level which has "headroom" for further boosting.
They will not sound the best at this point if no EQ or compression settings have yet been applied, and that's OK.

Once a consistent volume is set you can now adjust the EQ and compressor settings, alternating between spoken and sung lines to ensure they sound clear. To ensure feedback-free operation during the performance, push the fader higher than expected (+10dB or +20dB) to ensure the added volume does not suddenly change the performer's profile. Adjust the EQ as needed if you begin to hear an immediate high squealing or the slow building of a low rumble as these indicate the potential for feedback.

Why push the performer's mic volume so high? A performer may become over-amplified either due to a need during the show, or if they become double-amplified (such as singing closely to another performer's mic). Pre-stressing the system now helps to avoid problems during the show!

Additional Resources:

EQ Fundamentals

What is EQ?

EQ (Equalizer) adjusts the balance of different frequency ranges in an audio signal. Think of it as tone control - like bass and treble knobs, but with much more precision and control over specific frequency ranges.

Common EQ Terms

HPF (High-Pass Filter) / Low-Cut Filter

Removes frequencies below a set point (typically 80-100 Hz for vocals)
Cleans up rumble, handling noise, stage vibrations, and low-end mud
Use on vocals: Always! Start around 80-100 Hz and adjust to taste
Does NOT affect the high frequencies - it lets high frequencies "pass" through

Frequency Bands

Lows (20-250 Hz): Bass, body, rumble, mud
Low-Mids (250-500 Hz): Warmth or muddiness - the problem zone
Mids (500 Hz-2 kHz): Presence, fullness, can sound nasal
Upper-Mids/Presence (2-5 kHz): Clarity, intelligibility, articulation
Highs (5-20 kHz): Brilliance, air, sibilance

Cut vs. Boost

Cut: Reduces level at a specific frequency (preferred method)
Boost: Increases level at a specific frequency (use sparingly)

Q (Bandwidth)

How wide or narrow the affected frequency range is
Narrow Q: Surgical cuts for specific problems (feedback, harsh resonances)
Wide Q: Broad tonal shaping (warmth, presence)

Parametric EQ

EQ that applies curves across the available frequency bands
Adjusting any point will "bend" the response curve to nearby points
The type of EQ you will use for a single channel

Graphic EQ

EQ that affects only distinct frequency bands when adjusted
Offers an immediate adjustment (cut or boost) at a specific frequency
The type of EQ you may see on a house amplifier or mixer's Main outputs

Key Principles for Live Vocal Mixing

Cut first, boost second - Remove problem frequencies before adding desired ones
Focus on the mix - Make channels work together, not perfect in isolation
Less is more - Subtle adjustments are better than drastic changes in live settings
Use your ears - Numbers are ONLY provided as guides, but the sound is what matters
Start with flat EQs - Always reset the EQ and Compressor for a channel when changing performers

Typical EQ Settings for Vocals

Vocal EQ - General Starting Point

This is by no means a "set-it and forget-it" range of adjustments but a basic starting point for vocals. Always adjust beyond these defaults from in the house, listening from various locations though you can always start from the middle of the audience if time is a factor. Once you apply this default to the first vocal channel you can use the Yamaha's TF-5 menu to easily copy and paste EQ settings to other vocal channels.

HPF (High-Pass):   80-300 Hz (adjust based on voice depth, eg. lower range)
Lows (500 Hz):     Cut 2-10 dB (reduces mud and cloudiness) using low Q (~0.7)
Low-Mid (1.5 kHz): Cut at least 10 dB using a narrow Q of 1.4-1.8 for precision
Hi-Mid (4 kHz):    Cut 2-10 dB (for presence and clarity) using low Q (~0.7)
Highs (10 kHz):    Cut 1-2 dB (for breathiness) using low Q (~0.7)

High-Pass Filter Example:

EQ Lows Example:

EQ Low-Mid Example:

EQ High-Mid Example:

EQ Highs Example:

Note: On the Yamaha TF-5 the EQ curve pattern for the Lows should look like this =>- indicating the EQ curve will NOT affect frequencies prior to what is selected. All other EQ points will use a symbol which looks like this -<=>- indicating the EQ curve will follow through from frequencies before and after what is selected.

Frequency-Specific Problem Solving

Many of the following suggestions will help you identify which point on the EQ needs adjustments but you should always let your ears be the guide! If something does not sound pleasing then you can use the following suggestions to make changes. If a tablet with the TF StageMix app is available, this will be the easiest way to perform EQ adjustments as you can just slide your finger on the screen to make adjustments rather than with knobs or tapping alone.

Muddiness / Lack of Clarity

Problem area: 200-500 Hz (low-mids)
Solution: Cut 2-4 dB around 300-500 Hz with moderate Q
Also try: HPF higher (100-120 Hz if voice can handle it)

Nasal / Honky Sound

Problem area: 1-3 kHz
Solution: Cut 2-3 dB around 1.5-2 kHz (use dynamic cut if intermittent)
Be careful: Too much cut creates a hollow, distant sound

Hollow / Thin Sound

Problem area: Missing 1-2 kHz
Solution: Boost 1-2 dB around 1-1.5 kHz to add fullness
Also try: Boost 200-300 Hz for more body

Harshness

Problem area: 3-5 kHz (upper-mids)
Solution: Dynamic cut 2-4 dB around 3.5-4 kHz
Why dynamic: Harshness often comes and goes with different words/notes

Sibilance (Excessive "S" sounds)

Problem area: 5-10 kHz (often centered around 6-7 kHz)
Solution: Dynamic cut 3-6 dB in the 5-8 kHz range
Best tool: De-esser (specialized compressor for sibilance)
Alternative: Dynamic EQ targeting the specific sibilant frequency
Set threshold: Use the worst "S" sound to set your threshold

Plosives (Booming "P" and "B" sounds)

Problem area: 150 Hz
Solution: Dynamic cut 3-6 dB at 150 Hz with narrow Q
Why dynamic: Targets plosives without thinning out the entire vocal
Prevention: Good mic technique and pop filters help

Lack of Presence / Gets Lost in Mix

Problem area: Not enough 3-5 kHz
Solution: Boost 2-3 dB around 4 kHz (presence frequency)
Also try: Small high shelf boost at 10 kHz (1-2 dB)
Caution: Don't push too hard - harsh vocals are worse than buried vocals

Compression Fundamentals

What is Compression?

Compression automatically reduces the volume of loud parts of a signal, making the overall level more consistent. It's like an automatic volume control that brings peaks down, making it easier to keep vocals present in the mix without constant fader riding. Thought of another way, compression ensures that the dynamic range of a performer does not exceed an acceptable upper bound for comfortable listening.

Common Compressor Terms

Threshold

The level at which compression begins
Signal below threshold = unaffected
Signal above threshold = compressed
Setting it: Adjust so the compressor engages on the louder notes, not constant background

Ratio

How much the signal is reduced once it crosses the threshold
2:1 = gentle (2 dB over threshold becomes 1 dB over)
4:1 = moderate (4 dB over threshold becomes 1 dB over)
8:1 = aggressive limiting (8 dB over threshold becomes 1 dB over)
Higher ratio = more dramatic compression

Attack

How quickly compression engages after signal crosses threshold
Fast attack (1-5ms): Catches transients immediately, smooths everything
Slow attack (10-30ms): Lets initial transient through (punch, clarity), then compresses
For vocals: 3-10ms is typical

Release

How quickly compression stops after signal drops below threshold
Fast release (10-50ms): Compression stops quickly, follows dynamics closely
Slow release (100-200ms): Smooth, musical, less obvious compression
For vocals: 100ms is a good starting point for live

Knee

How gradually compression ratio increases as signal approaches threshold
Hard knee (0 dB): Full ratio exactly at threshold - more obvious
Soft knee (12 dB): Gentle increase in ratio before/after threshold - transparent
For live vocals: Soft or Moderate knee (6-12 dB) for smooth, natural sound

Gain Reduction (GR)

How much the compressor is reducing the signal in real-time
Shown on meter with negative numbers (-3 dB, -6 dB, etc.)
Goal for live vocals: 5-10 dB average, 20 dB maximum

Make-up Gain / Output Gain

Adds gain after compression to compensate for reduced level
Keeps the fader position/mix balance accurate
Regardless of gain reduction, avoid using output gain or do so sparingly

Using a Compressor for Live Vocals

Why Compress Vocals in Live Sound?

Smooths inconsistent mic technique (moving toward/away from mic)
Keeps vocals present without constant fader adjustments
Controls sudden peaks that could cause distortion or feedback
Adds perceived loudness without increasing actual peak level

Live Vocal Compression Settings

IMPORTANT: Live compression is LIGHTER than studio compression due to:

More unpredictable dynamics
Mic bleed from other instruments
Risk of amplifying background noise
Need for natural, energetic sound

Typical Starting Settings:

Use these settings as a baseline for vocals and adjust as needed for each performer.

Threshold:     Set (reduce) by -10 or -20 as a starting point
               (Make sure the actor covers both normal speaking lines and their loudest singing voice)

Ratio:         3:1 or 4:1 as necessary for a vocalist, or 5:1 at a maximum
               (Expect to use a higher value for a very powerful singer)

Knee:          Opt for the Soft knee to prevent noticeable changes

Attack:        4-6ms (lets consonants punch through before compressing)

Release:       50-100ms (longer = smoother and less obvious)

Output Gain:   0 unless you absolutely need to boost!

Setting Threshold for Live Vocals

Watch the performer's technique:
Stationary (acoustic guitar player) = more predictable
Moving around (energetic vocalist) = less predictable
Set threshold to average level, not quietest level
Too low = compresses everything including bleed and noise
Too high = only catches extreme peaks, defeating the purpose
Use gain reduction meter:
Should show 4-5 dB on average phrases
Peaks hitting 8 dB maximum
Not constantly engaged

Advanced: Two-Compressor Chain

Why yes, you CAN apply compressors to compressed channels! In cases where a group of performers may exist on a single channel, such as a DCA (group) assignment. Compression can be applied for an individual vocalist to match their performance while a compressor on the DCA will ensure a group of vocalists remains within an expected range.

For vocalists who belt or scream occasionally:

Compressor 1 (Main):

Threshold:     Average level
Ratio:         3:1
Attack:        3ms
Release:       100ms
Purpose:       Smooth overall dynamics

Compressor 2 (Safety Limiting):

Threshold:     Much higher (only catches belts/screams)
Ratio:         8:1 (aggressive limiting)
Attack:        1ms (catch it immediately)
Release:       50ms (quick recovery)
Purpose:       Protect against extreme peaks and audience ear damage

What Compression Cannot Do

Fix bad mic placement - Get the mic positioned correctly first
Replace good mic technique - Work with performer on consistency
Eliminate feedback - Use EQ, mic placement, and monitor positioning
Make a bad mix good - Get fader balance and EQ right first

Practical Workflow for Vocal Soundcheck

1. Start with Gain Staging (No EQ/Compression Yet)

Have vocalist sing at performance volume
Set input gain so meter shows healthy signal (-12 to -6 dB)
Fader at unity (0 dB)
No clipping/red lights

2. Apply High-Pass Filter

Engage HPF at 80-100 Hz
Listen while adjusting - stop before it thins out the voice
Male vocals might need lower (80 Hz), female higher (100-120 Hz)

3. Cut Problem Frequencies

Listen for issues and address them in this priority order:

Mud (500 Hz) - Makes everything cloudy
Sibilance (5-8 kHz) - Painful on larger systems
Harshness (3-5 kHz) - Listener fatigue
Nasality (1-3 kHz) - Annoying but less critical

Use narrow Q for surgical cuts, wide Q for broad tone shaping.

4. Add Compression

Set threshold to average level (aim for 4-5 dB GR)
Start with 3:1 ratio
3ms attack, 100ms release
Add output gain to compensate

5. Add Presence (If Needed)

Only after fixing problems:

Small boost at 4 kHz for clarity (2-3 dB max)
High shelf at 10 kHz for sparkle (1-2 dB)

6. Check in Context of Full Mix

Bring up band/backing tracks
Adjust vocal level for proper balance
Re-check EQ moves in context (solo'd sounds can be misleading)
Make sure vocals sit on top of the mix without being too loud

7. Walk the Room

Check vocal intelligibility from different positions
Front, back, sides, under balcony if applicable
Adjust as needed for coverage

Common Mistakes to Avoid

Boosting too much at 4 kHz - Creates harsh, fatiguing vocals
Setting threshold too low - Compresses everything including noise and bleed
Using studio ratios (8:1) for main compression - Kills dynamics and amplifies noise
Not using HPF - Wastes headroom on useless low frequencies
Forgetting to add output gain - Compression reduces level, must compensate
EQing in solo - Always check moves in context of full mix
Over-compressing - Live shows need dynamics for energy and excitement

Quick Reference Chart

EQ Frequency Guide for Vocals

Frequency	Name	Cut to Fix	Boost to Add
<100 Hz	Sub/Rumble	HPF: Always filter	Never boost
200-300 Hz	Body/Warmth	Muddiness, boominess	Warmth, fullness
500 Hz	Low-Mids	Mud, cloudiness	(Rarely needed)
1-2 kHz	Mids	Nasal, honky sound	Fullness, hollow fix
3-5 kHz	Presence	Harshness	Clarity, intelligibility
5-8 kHz	Upper	Sibilance, shrillness	(Rarely needed)
10+ kHz	Air	(Rarely needed)	Sparkle, openness

Compression Settings Quick Reference

Parameter	Studio	Live	Why Different?
Threshold	Lower	Higher	Avoid compressing bleed/noise
Ratio	6-8:1	2-3:1	Preserve natural dynamics
Attack	Variable	3ms	Let consonants punch through
Release	30-60ms	100ms	Smoother, less obvious
Knee	Hard/Med	Soft (12dB)	More transparent
GR Target	6-10 dB	4-5 dB	Less aggressive overall

Not Covered

Obviously one area not covered here is how to EQ for musical instruments. The process is much the same but may omit features such as the High-Pass Filter or may utilize other tools such as a Gate.