Not exactly what you are looking for regarding vocals, but this is by far the best discussion I've seen on how Healy approached micing and mixing the dead:
http://www.rukind.com/viewtopic.php?f=4 ... 3f1774b62a
gratefulfork wrote: ↑Mon Jan 08, 2018 10:11 pmDon't have any insider info, but drawing simply on my own experience as FOH I have two thoughts.
1) is that the mains eq was probably radically different every night depending on the space
2) because the dead were playing fairly large venues for the majority of their career it was probably quite a bit easier to mix than a small club. my reasoning is this: in a club setting, you're always fighting to lift the vocals above the volume of the drums in the room as well as the (probably excessive) guitar amps. This raises the floor considerably and your gain before feedback on the vocals does not go up accordingly- hence the fight for a clear vocal sound. In an arena setting (guessing here because i haven't done FOH for larger than clubs), especially with such superb musicians (most pros have extremely good control over their dynamics) i'd imagine that since almost nothing will carry past the stage without the mains, you wouldn't be fighting that same floor level and it would feel quite a bit more like studio mixing. I could be totally off the mark, but thats my 2 cents
I have to disagree with this. There is no one preconceived EQ curve that is correct. If you just lose the lows and highs, you end up with a midrange-y nasal sound that hurts more than it sounds good. No Phil bombs happening with that curve nor any clean, crisp cymbals or vocals.Searing75 wrote: ↑Tue Jan 09, 2018 8:59 pmIn reference to a board with a master eq. Start with the upside down smile, or frown. The peak, or mid frequencies of the smile are at zero. Zero being the midline between positive and negative. You would be cutting the furthest lows and furthest highs completely most likely. That’s a proper pa eq setting. All individual channels can be tweaked afterwards. A little will go a long way.
Studio Six Digital's AudioTools are great! They even have a SMAART/Live option (the competition for SIM). I have the iPhone version (which is very reasonably priced) and it's very useful and sometimes just interesting to find out what's going on around you (what does the frequency distribution of the assault of noise while flying in an airplane look like?). Highly recommended!Rusty the Scoob wrote: ↑Thu Jan 11, 2018 6:53 am
The few times a year I run sound, I use an app called AudioTools from Studio Six Digital as a very cheap and easy substitute for the real scientific stuff the GD did. It's just nice to see what DB level you're running at, which frequency is feeding back, if a specific frequency range is sticking out too much and making it sound muddy/woofy, etc.
It's holistic! Classical and jazz musicians learn this stuff as a matter of course. Arrangement and dynamics are key. Thanks for bringing up possibly the most important component of all this.
You're welcome! It's a thing most rock musicians miss out on. Myself included especially when younger, better now. Best thing any band can do is pop up a recorder in the middle of the room and:zambiland wrote: ↑Fri Jan 12, 2018 10:28 amIt's holistic! Classical and jazz musicians learn this stuff as a matter of course. Arrangement and dynamics are key. Thanks for bringing up possibly the most important component of all this.