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Old 21st December 2012, 06:54 PM   #11
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When I was following Takida's soundguy for a day during a gig he used I.G.Y with Donald Fagen.
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Old 27th December 2012, 04:08 PM   #12
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For a live sound system you need "tune it / ring it out" with mic and some old fashioned check one two. Provided the person doing the check one two's knows what their listening for, what they are hearing and how to adjust the system accordingly. Playback music will get you a general balance of low mid highs but an open mic on in the room is what you need to check it with. Even when a system is tuned with something like SMARRT a mic check one two is still the final test.
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Old 28th December 2012, 07:58 AM   #13
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Hi guys

Boney M is interesting, especially at 3 places...same track??? Which one?

Back in Black and Money for Nothing i know. The others I'll take a listen to, if for no other reason to hear new stuff.
I know the difference between playing a CD through a PA and mixing a live band through one, but this guy doesn't (no, he ain't Buddy Rich) but his ideas of what he wants this for vary daily. From what I can gather, he wants to run a (very loud) karaoke show, but have his drums mixed in so he can play along with the karaoke track, but then he might have a few guest musicians drop in or he might have a full band, or he might ... you get the idea. He also tosses around dangerous terms like "crystalline" and "absolute" and "JBL" and "flown" but he still insists on using an old pair of ludicrously heavy old 70's EV cabs for tops and an excruciatingly heavy old Crown Power Base 3 to drive em. They probably sounded great then, and they may still do so now, especially as top boxes, but if he's thinking it's going to sound how it sounded when he saw Rush at the Boston Garden last year it could be a long night for me.

Essentially, I am going to set this up as a DJ, tune it using a laptop with Winamp using Stereotool as a plugin and tell him, "If you are as good as Neil Peart, that's how you'll sound." But, just so I can sleep at night I do actualy want it to sound as good as possible as a DJ rig and I think Stereotool certainly has enough compressor/limiter magic to get me there, and there's limiting on the crossover and power amp if anyone gets over-enthusiastic on his world-class Mackie 16-channel.

Bottoms are handled by a pair of PAS 18" in slot-ported cabs with about 1000 watts available and there is going to be a hard cut-off at 50Hz on the amp + EQs and, as all he is interested in is kick drum, I might add some compression, mess about with a little bump around 80 and cut even the 63Hz slider on the EQ too, so the suggestion of "The Weapon" sounds perfect. I only have a 3630 as a compressor, so if anyone has a recommended setting for kickdrum, don't be shy. I was thinking about using the other side of the 3630 on the drum sub-group insert, and try punch up the whole shebang, but as I only have a two-channel compressor right now I am thinking one side of it should be used on the vocal subgroup, especially if karaoke singers are involved. They need all the help they can get IMHO (although I hasten to add my experience of karaoke is all of 30 minutes out of my entire life). This IS only a 3630 after all, so your opinions on what to do with it (yeah, I've heard "throw it away" before) are welcome on that score too. A dbx 266xl can be had for 100 bucks or less, and probably will be added, so throw that into your equation.

Top boxes are these old EV 1503s, which have a very good rep but I am afraid they might fly apart. They only handle 200 watts apiece, but with them pole mounted and with the average club/bar gig around here being less than 200 people (a lot less for the most part from what I recall as a live engineer) they should approach the threshold of pain before they do fly apart I think. I don't know what the nightlife throbs like where you live, but here in Moo Hampshire I can only think of one club that could handle maybe 250 people. He actually has 4 of these EVs (that he refuses to put wheels on because of the "structural integrity of a classic" issue) and I think he's waiting for me to come up with the idea of just stacking a pair per side on top of one of these PAS bottoms, but I think then the mids would just run riot over the bass. I wouldn't say I'm not just a bit tempted to see what would happen tho. If I had two 18s a side, I could see that working maybe. But the weight would just crack New Hampshire off the eastern seaboard and float it off as an autonomous landmass in the Atlantic somewhere. Worse things have happened i suppose.

I used to be all idealistic as a live engineer thinking that I was a crucial part of the machinery of awesome sound and essential to a brilliant night on the town, but the sad truth as I perceive it now is that bars want to sell beer and punters want to get laid, and if your pumped-up vocals, breathy reverbs and gut-kickin' bass gets in the way of either, you've already lost the game. I sure as hell still love messin' about with the gear though. Now I'm just an old fart, but I remember the 80s...load-in at 3pm, breakdown at 2am, bed when the sun comes up (maybe). 4 nights a week, 125 bucks a week and first dibs on the early-bird buffet. Different times.
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