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You want one with as little reverberation and effects as possible. Ditto instrumental backup — an acappella voice would be ideal. If you have a choice of male and female, choose one and then do this exercise over again with the other. If there are two of you doing this practice session, now is the perfect time to try out your microphones. Do these exercises with a microphone instead of your tape machine. And do something more original than “testing, one, two.” If you don't want to sing (the best way to try out this set of controls) then at least read something from a book or magazine to get some variety into these tests! Try to make the voice sound “warmer” (or less "warm") by using the Low control. Notice the effects the Mid control can have on the relative “harshness” of the voice. Try all three Mid switch settings. Depending on whether the voice is male or female and on the particular voice qualities, you will probably find that one of the Mid switch settings is optimum for controlling this particular voice. Some other voice, of course, might respond better to a different Mid switch setting. Now, try the High control and notice its effect on the "presence" of the voice. You can emphasize or de-emphasize the sibilants (high-frequency consonant sounds) in the voice with the High control. You can also affect the sibilants, to a lesser degree, with the Mid control when the Mid switch is set to the "3k” position. If at all possible try out the Input Channel Equalization controls with a live voice (other than your own) and your various microphones. Not only will you discover the difference between live and recorded signals, you will hear the differences among the various microphones. Listen, in particular, for "proximity effect," an increasing bass-boost noticable in many cardioid microphones as the talker moves closer to the microphone. How would you counter this effect if it was excessive? Also listen for the difference in “presence" (high-frequency response) in the microphones. How would you increase presence if it were lacking in a microphone (or voice)? The Input Channel Equalization Controls and Mixed Instruments Now that you have a good idea of the effects of the Input Channel Equalization controls on solo instruments, it’s time to try out your skills on an ensembiel Find a tape with a group of instruments, and at least one voice. An "uncluttered" piece of music like a folk song would be ideal. Avoid a piece with lots of reverb and complex effects. Run both channels of your tape machine and use both Channel 1 and Channel 2 on your Fender Mixer. Bring the faders up to a comfortable listening level. This is a simulation of a real performance. The only differences are that you don’t have individual control over the various inputs and that there will always be some differences in the -sound of live versus recorded sources. Never-the-less, you can try out some “live-perfornnance” techniques here. In particular, you should attempt to isolate particular instruments and increase their apparent level. Since you don’t have individual volume controls for each instrument, on the tape, you are limited to using the Input Channel Equalization controls (and, perhaps the Pan controls if the instrument is primarily on one channel of your tape machine). For example, you should be able to bring out the voice(s) with the Mid control (try the various Mid switch positions for the best results). You might even be able to emphasize the voices on Channel 1 and the bass instruments on Channel 2 and then use the Pan controls to completely alter the original mix! The importance of this exercise is that, in a live performance, you can use these techniques to emphasize a particular voice or instrument without increasing the volume level. There’s a lot more to "mixing” than just fader settings! In a live performance, you may find that the Input Channel Equalization control settings you used for an individual instrument during a practice session just don’t sound the same when there are other instruments (or voices) present. This is a normal effect of a live mix. The point is that there is no right or wrong way to set the Input Channel Equalization controls for a particular instrument or voice. What is important is the subjective sound quality you achieve during an actual live mix. Think mix! If the piano sounds like a piano (and the other instruments and voices also sound "correct") during the actual performance, then you’ve done your job right. A Precaution About Using the Input Channel Equalization Equalization is a very powerful tool. Used carefully, it can significantly enhance your artistic capabilities. Used to excess, it can actually hinder the process of sound reinforcement. The trick is to use the Input Channel Equalization controls in a subtle way, like an artist uses a fine-line paint brush. Over-use these controls, by turning them too far up or down, and you risk excessive noise, distortion and a very un-natural s...

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