"Through My Father's Eyes" (Official Music Video) - Christian Singer, Holly Starr
Holly Starr - "Through My Father's Eyes" is the official New Christian music video for the radio single "Through My Father's Eyes" from the Christian singer'...
Live Tricks / Tips
Everyone has their "thing" that they do that makes them special. What is one of the tricks you have learned throughout your career that is outside the normal audio engineer routine? What is the reason that it works for you? Why would it work good for someone else?
For example, this may include:
Mic Choice
Mic Placement
Monitor Placement
Ways for isolation on stage
Drums - Gated? Triggered?
Anything really!
I figure we are all here together and we may as well learn from each other. :-) Happy Posting!
For example, this may include:
Mic Choice
Mic Placement
Monitor Placement
Ways for isolation on stage
Drums - Gated? Triggered?
Anything really!
I figure we are all here together and we may as well learn from each other. :-) Happy Posting!
Replies to This Discussion
-
Permalink Reply by Chris Thom on -
Give away all my secrets, are you insane?!?! OK, maybe a couple.
- I always do a 2 octave scoop centered around 4k on the keyboards so they get out of the way of the vocals.
- My favorite mic for E Gtr is an E906 - hands down.
- I recently rediscovered how much I love a RE20 on a kick drum.
The rest I keep for me.
-
Permalink Reply by Rob Facelli on -
I'm not sure how many other people do this, as I'm not really a live sound guy (although I have been lately), but I've been compressing the 2 bus a little.
-
Permalink Reply by Forrest Colegrove on -
I really like to setup a drum bus and insert compression just to thicken kick and snare.
-
Permalink Reply by Rob Facelli on
-
I usually put drums on one bus and overheads and hat on another, and compress them separately.
-
Permalink Reply by Forrest Colegrove on
-
agreed. i throw everything minus overheads to my drum bus. i generally dont create a seperate bus just for overheads, but maybe ill give it a shot. any reason why you would do this? just wondering. thanks.
-
Permalink Reply by Rob Facelli on
-
well, at my regular live gig (which is at a big church on music row, high expectations) the drums are in a "booth" - just big enough for the kit and the drummer. So the drums can really overtake the cymbals in the overheads if you're not careful. I usually set the OH bus comp with a fast attack and release, and set the threshold to get about 6-8 db of gain reduction on the snare hits, and maybe 1 or 2 db on the crashes, if at all. It just keeps the snare from overwhelming the rest of the kit, and it kind of smoothes out the cymbal attacks a bit. It also keeps people off my back about the volume.
-
Permalink Reply by Forrest Colegrove on
-
brilliant........nuff said.
-
Permalink Reply by Bret Teegarden on -
In similar circumstances "live" you can actually go without, yes I said without, overhead mics. This is not for arena type shows and works best on smaller 4-5 piece kits, but usually the tom mics pick up plenty of cymbals and cymbals tend to cut through anyway so you solve a myriad of phasing and bleed problems that way. Plus, a side benefit is you can really set the tone of the drums the way they should be. Also, I see guys set OH mics 2-3 feet above the cymbals. I think that is crazy. To get any cymbal sound you have to crank them to the point of causing yourself other problems. Drums are hard enough without inducing the phase problems that occur from that technique. I've just always been a proponent of getting the OH mics as close to the source as possible without interfering with the drummer.
-
Permalink Reply by Rob Facelli on
-
Very good point. In my case though, I have to mic overheads because all the tracks are split to the recording studio downstairs, so even if I didn't need them, they would. Not a problem though, as I've got 19 channels of compression and 18 channels of gates at my disposal. Which is really quite a bit for a live/church gig (but still not enough for me).
-
Permalink Reply by Bret Teegarden on
-
Do you have to use them your mix?
-
Permalink Reply by Rob Facelli on
-
No, but it sounds good, so I do. Most of the time the music is very dynamic, some passages get reeeeeally quiet (it's worship music). And here's something I've noticed: everyone's on in-ears, which is a great thing for keeping the stage volume down, but since everyone can hear themselves so well (they all have personal mixers, so of course everyone turns themselves up the loudest), they tend to play too softly in the quiet parts, and I have to pump them up in those sections. With drummers, they're trying to be really conscientious, and without the overheads all their cymbal work would just be lost.
So what you're saying is true, just not really applicable in this situation.
-
Permalink Reply by Bret Teegarden on
-
Well, it is a matter of personal choice, but I am in the exact same situation as you, booth and all, and I can tell you in my situation the cymbal work never gets lost. The only person on in-ears is the drummer but we're trying to get others to move to them. That's like herding cats, and we have all studio players for the most part :) I've been doing this particular gig for 3 years now and I have yet to have anybody tell me it's too loud. In my experience, I have found that if that is happening it has more to do with the nature and tone of the mix than actual sound pressure level. I tend to agree with Chris' post below.
Latest Activity
© 2013 Created by Bret Teegarden.
