SarnoMusicSolutions wrote:"Some of the tips Dan has shared with me over the years going as far back as 1988:"Thanks again for offering up this info - very helpful!
SarnoMusicSolutions wrote:"Some of the tips Dan has shared with me over the years going as far back as 1988:"Thanks again for offering up this info - very helpful!
I suppose if I'm running Hi Passes on everything, only the lowest bass notes are going to get routed to the sub by the crossover, so it shouldn't muddy things up, right?The QSC K Series has internal crossover. If you have your tops set to "EXT. SUB" (external sub) everything below 100hz will be routed to the sub.
gratefulredhead wrote:So Brad, another question if you don't mind (and thank you very much for taking the time to share this information with us!), Would you think that running a sub woofer would tend to be counter productive then? My system is a QSC powered K series PA. I use K-10s with a K Sub. Would I be better off with K-12s as my main and no sub? I'm thinking this is probably a silly question, as I'm writing it. I suppose if I'm running Hi Passes on everything, only the lowest bass notes are going to get routed to the sub by the crossover, so it shouldn't muddy things up, right?
gratefulfork wrote:Brad,I will admit though that I mostly tend to adhere to Healy's fairly strict philosophy of never doing anything with compression or limiting to drums at all. Only with maybe a really bad drummer with terrible dynamics and a tendency to get too soft and disappear at times will I reach for tools to clamp down and squash the sloppy dynamics, basically allowing the soft quiet stuff to be kept UP and preventing the loud stuff from being too much.
Glad we agree on the compression as limiting approach to live drums. My thresholds are pretty much only set at the "ouch" volume for drums.
Matt
gratefulfork wrote:Thanks for the info! A note on compressors from someone who does live sound for up and coming groups - Healy was working with the most dynamic band possible in very large acoustic spaces. No other group plays with the dynamics of the dead. Other deadish bands - fine. However I would hesitate to apply the compress nothing rule when it comes to general live sound - especially in club settings and with bands that haven't gotten their live show to the point of the dead (so most people) as compressors can be valuable dynanic and tone shaping tools when applied to drums and vocals. Most musicians are not on the dead's level of dynamics and tone control and therefore could use the help from the FOH. Just my two cents, take it or leave it.Back in the mid 80s, when I got my Tascam Portastudio, I used to practice keeping the VU meter consistent, from finger style to slap. Last year, a sound person friend of mine was describing to someone how me mixed and then he brought up bass and how he would eq and compress things and then pointed to me and said "Except Edwin, he sends me a pre-EQ'd and compressed signal and I just bring up the fader." He was surprised to find I've never used a compressor live.
Pete B. wrote:Is there a brand/model Limiter that you could recommend for us weekend warriors?My experience: love my PreSonus Eureka
He was surprised to find I've never used a compressor live.zambiland you are every sound engineer's dream! I cannot stress enough how much easier people like you make the job!
gratefulfork wrote:Seems like it's all part of the gig.He was surprised to find I've never used a compressor live.zambiland you are every sound engineer's dream! I cannot stress enough how much easier people like you make the job!
gratefulfork wrote:Hey Brad,They started out with EV RE series mics, through the Wall of Sound era (love the dynamic mic overhead sound!), but I bet after that it changed constantly.
Any info on what mics the crew used on the drums over the years?
Thanks,
Matt
gratefulfork wrote:zambiland, do you know which ones they used on what within that? I have a pair of RE 15s that I use on guitars, but maybe I should give them a shot on drums.I think basically RE15s and RE16s, and I heard that Bear also used omnis here and there, for improved off axis response. Beyond that, I'm not sure.
Thanks,
Matt