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Thanks for subscribing, I’m glad you enjoyed it!

You’re welcome. I am not BS’ing anyone but I also stress that these tips may not work for everyone. Hopefully the viewer takes away some idea that they can adapt and use in their workflow.

I didn’t mention occlusion but you see its effects in the approach. In an effort to reduce as much latency as possible you can aid in reducing the effect. In addition, the high boost helps to counter-act the effect that affects the perception in the lower tone of the vocal. Occlusion effect is being thrown around on RUclips a lot as if it’s something new. It’s not. It’s been around since people started putting headphones on their heads. It has, however, intensified with digital latency and IEMs. In the early days of mixing IEMs we may not have known what the clinical term was but we knew how it felt and adjusted accordingly. Another video I need to do is an easy way to keep the vocal path analog but still retain the advantage of recall ability that digital consoles have. Thank you for watching and commenting.

@cookie_mix Good to know. Looking forward to watching the mentioned video of yours. Thanks!

There's always a consideration when adding gain to an open mic on a live stage. The combination of the uncompressed signal that is allowed to run when the singer hits the mic harder and only the parallel input compressing (and now not adding as much to the bleed) when the singer sings harder yields different results than a single input that is fully compressed. With that approach, the compressed signal will need to be raised in level or makeup gain and that also brings along the bleed. The parallel method is only adding in bleed when the singer is quiet. It's not a perfect science, but it is a difference of expanding up the low level signal only as opposed to reducing the high level and increasing the noise floor with added gain to makeup.

Being a fly tech on a tour gets you a lot of knowledge very quickly. Nothing can take the place of experience and touring and tech’ing a rig in multiple venues back to back to back gets you a lot of experience very quickly. Touring life isn’t for everyone though, it’s a whole added layer to the audio experience. But to be in the place where it’s all happening and understanding what it takes to get to the downbeat of the show is the key.

@@cookie_mix something I would actually love to do. Thought about doing it years ago but had no idea where to go to even inquire to begin.

@@cookie_mix where to begin even looking? I'm in The Bay Area

@@darnezzyd There is a video on Recording Studio Loser where my colleague on monitors talks about starting out with a regional audio company. ruclips.net/video/jXsDYjt_5ac/видео.html There has been a lot of consolidation in the past several years in the touring production business. The biggest companies are Clair Global which is HQ'd in Littitz, PA and Solotech which is HQ'd in Montreal, QC. Sound Image is in Escondido and is under the Clair Global umbrella. That might be closest. Solotech I don't believe has much presence in CA but does have a Las Vegas shop. Everyone is, of course, in Nashville, TN as well. If you want to go for it all, then calling one of these shops to get your foot in the door is the first step. You may be required to work in the shop for a little while (possibly relocate) and/or go through Clair's audio school so you are taught the practices and methods they want their employees to implement on the road. It's a big step, but anything worth it takes effort. After you've established yourself in the industry, it is easier to take calls and live away from the shop, but for someone who is new to the touring circus, you must start somewhere.

Make vocal more upfront. Singer have easier time. Singer happier. Get paid.

Yes. I don't want to post my email on here for the crawlers so go to the end of this video to find my email: ruclips.net/video/tKrLdHs8VKk/видео.htmlfeature=shared

Is your focus FOH or Mons?

@@cookie_mix mons

Did you set a trigger from the time of day?

@@cookie_mixyup! Only thing to look out for is when crossing time zones, if you’re not connecting this computer to the internet, the system clock won’t update

@@cookie_mix yup! Just gotta watch out for time zone changes if you're not connecting that computer to the internet

Glad it was helpful!

My pleasure!!

Too Much Time On My Hands by STYX

I do remember. You also were at our Orlando show. Email is best. I don’t want to put it in plain text for the bots so forgive the cryptic nature, but my email is at the end of this video: ruclips.net/video/tKrLdHs8VKk/видео.htmlfeature=shared

I’ll take your comment into consideration for Westbury.

Let me know how it goes. I’m always curious.

@@cookie_mix I will do. :)

Stacked do feed into each other but if you only have one and you’re using parallel inputs, use the slow attack around 50ms to start with and release around 100ms to start with. Ratio 3:1 maybe 4:1. Set the threshold low enough that it grabs the vocal when you do more than talk into the mic. Ultimately it’s going to be a feel thing. Depends on your vocal style, gain structure, etc. twist knobs and see how it feels. Thanks for the views and the comment.

Tried it out today with the vocalist and he loved it! Thanks! @@cookie_mix

That’s awesome. Thanks for letting me know!

Thank you! I have the liquid sonics reverb plugin that has the Bricasti verbs. Took a good look/listen to the Close B and London plate reverbs and tried to recreate them in the somewhat basic verbs of the Presonus. It did the trick. The singer was much more expressive because he had those reflections giving him a sense of his own voice. And he did some amazing things in the soft parts because he could hear everything. Brilliant :) @@cookie_mix

Huh?

Yeah sorry for that long hiatus and thank you for sticking around!

I think the 4/0 is a relic from earlier years but it’s also more convenient if you are a shop that shares between lights and sound. You’re supposed to breaker down to 200 amps if any point in the system is 2/0 if I remember right

@@cookie_mix Yeah, and their distros are usually 200A, but they carry 4/0 so they can still patch in if the house only has 400A panels. Easier than carrying both, especially when you can get the local crew to hump the cable (my back hurts just typing this 🤣)

Yes that video is on the list. I have some video assets captured already but I still need more for better explanation. Thanks for watching!

I should add, my voice is quite deep… making the occlusion worse than say a singer who has a higher thin voice. Here is my voice type in this link

ruclips.net/video/u6y4aimrW04/видео.htmlsi=q__65vEf6UnOE_Yf

First off, your Rocketman video sounds great. I enjoyed listening to that and the camera angle showing the street is a nice touch. For your occlusion issue, you are hearing the latency between the resonance of your head and the time it takes your voice to go through the digital signal path back to your ears. This is something I always stress when I am speaking to manufacture reps who claim their products "only add.... milliseconds" the the chain. When you start adding at digital console in there (your A&E desk is 1.2ms XLR in to out, your wireless (I am guessing it is a digital wireless system) is adding probably .62ms to the chain. If you send your signal out of the desk to any digital or analog inserts, you are adding more. Long story short, is you need to try to shorten the path. Humans are supposed to be able to tell 5ms or something like that but I feel singers are incredibly sensitive to what they are hearing and even 2ms is noticeable for us. How do we get around this? Well it's another video I need to do but I am not going to make you wait for that. If there is any way to keep the vocal chain to the IEMs analog, that's what you should do. Running at a higher sampling rate on the desk will help, but the QU will only do 48k I believe. To break it down, the wireless should be fed into an analog preamp (even if it's just a small analog mixer) and the digital mixer feeds channels 2 and 3 of the analog mixer with the band mix. The analog mixer feeds the IEM transmitter. OR Mic to analog preamp to "Y" cable input. That "Y" cable feeds into the 'A' side of 2 SUMMING 'Y' cables. Summing 'Y' cable feeds the IEM transmitter. The other side of the Summing 'Y' cables are fed a stereo band mix from the digital console. I don't know what your level of technical aptitude is or your soldering skills, but that's how to keep your IEM's wireless, your band mix on a digital mixer, and any vocal processing you need should be analog either in that analog mixer or before it hits the mixer. Summing XLR cables have 2 450 Ohm resistors and a 20K resistor in them if you make them yourself. The Y cable that split the signal are just a hard split of the 3 XLR pins from an XLRF to 2 MXLR. This is all assuming this is what you meant by the occlusion effect. 😃

​@@cookie_mix this is something I've been interested in trying to actually measure - the time it takes for the (non bone-conducted voice) to acoustically make it from the mouth to the ear, and adjusting the latency of the signal path to match. Also whether or not room reflections and room geometries have a substantial impact on the "airborne" part of the voice a performer hears in a live room. I've also been thinking about musicians transitioning from wedges to IEMs and whether it makes any sense to add in yet another delayed copy of the vocal to simulate a wedge sitting several feet away on top of it all... at least for a transitionary period. Yeeeehaw.

@@mashzmashthose are all good questions. I also tend to wonder if since we don’t walk around all day with ear plugs in, our brain isn’t used to hearing the voice with the occlusion effect. Maybe it’s just an enhanced perception of it or maybe the dB level of the resonance is increased when the ear canal is closed off. This is an audiologist’s lane. The brain is great at adapting to sound locations but occlusion is not something that we train ourselves on.

Thanks for watching!

Thank you for that. I will do more monitor videos this year to hopefully open the door to more ideas engineers can use to spark their creativity and problem solving. Thanks for the view.

Reacting to what is coming from the stage is the way most of us in this industry have to work. I am just happy to be able to show another side of our business where we can actively participate in what the band is doing and add to their performance. It is a luxury.

@@cookie_mix Being able to actively participate is most definitely a luxury; there are occasions where I can, and if the opportunity presents itself, I make the most of it. :)

Oof. That’s could be a really long video and the comment section would be argumentative but I could come up with a few ideas.

That’s fair. I need to analyze with plugin doctor to measure those parameters. But the omission of saturation and compression is why I titled the video with “help” to be more realistic of what I was presenting. Thanks for the comment and view!

Helps the show time fly by.

I absolutely can do a CLA Drums video. Glad this helped. I find it useful to see the curve and finding the precise EQ parameters so I can transfer that to another platform (live console) if needed and work from there. It’s all about the details.

I’ve been slacking. I’ll get to the videos soon.

Most of us live engineers are in a situation where we are reacting to the band. I just want to give others an idea of what can go on when you tour with a band and get to know their performance to a point where you the engineer can be part of it. Our live touring industry is actually pretty small but there are lots of younger engineers who aspire to be on tour with a band someday. This is a glimpse into what your role becomes at that level.

Never stop learning and practicing.

Hopefully this helped!

Thanks for visiting this video!

@@cookie_mix I truly enjoy them :)

Love it. Thank You.

It’s a double-edged sword. Doing the same show so much that you can get into the details, but you start to run out of problems to solve. Smilin’ and dialin’ keeps your reflexes tight and you on your toes, but you never get the satisfaction of really getting into the minutiae. Two different mindsets.

Happy to help!

Better to show why so others can relate to their situations and feel the license to do the same. It helps with critical listening too..asking yourself what does this need and how can I help it along.

That is exactly correct. The latency is about .88 milliseconds per foot Sound is pretty slow. Typical FOH distance is about 105 feet in arenas and amphitheaters so that’s 92.4 ms just to the downstage edge. Then you need to add processing time for the DSP of the amps for the PA which might be another 10ms. Then add to that the fact that many venues when given a chance will add more seats on the floor (higher $ sales) and push FOH back even further or maybe behind all the seats and you start to get to 135ms in latency. The distance can change day to day, venue to venue. The solo bus is delay compensated. I’ve mixed more shows off of headphones and nearfields than you would guess due to FOH positioning, unfortunately.