Definitely agree with going Studio into Live. Every live engineer who started out in the studio has always had a great mix vs anyone who started in the live scene; in my experience.
I've always felt the benefit is that they come from a more diverse background of imagination. In the studio, you're crafting an auditory experience. Live, you are, but can easily fall into the trap of "just make it work" since you're dealing with live elements instead of a mastering process. Also, everything can start to sound generic or the same between your mixes. I fall into that trap myself as an engineer. Working on it, but it is difficult.
Use an analogue console and keep all the outboard or keep the digital console with no outboard? I wonder which he would choose! I see setups like this with so much outboard and start to think that it is only a matter of time until some people start making the switch back to full analogue, guess the automation would be an issue for this guy without digital.
You need to start in a studio setting before you go live so you can understand what you’re doing and later make sense of the issues you’ll encounter live because live the difference is in pa and environmental differences but you can quickly troubleshoot instead of guessing like most people do
@@DbiPro Does delaying the mains to the backline cause any problems for the performers? A variety of views... Here’s interesting thread on the Live Audio Board (LAB) forum here on ProSoundWeb, and we present it here with a very light copy edit and trim for space. Perhaps you’ll actually want to experiment with the concept discussed here… Question posted by John L Nobile: I’ve done a search on this and found a few things, but wanted to know if delaying the mains to the backline will cause any problems for the performers. I’m planning on trying it but just wanted to know what issues (good or bad) anyone has come across. Reply by Dick Rees: I’ve never had anyone even notice it from the stage. If anything, it should make it better. Reply by Mac Kerr: How so? Now they not only have the time of flight delay, but whatever you add. It seems like a losing proposition for the musicians. Reply by Steve M Smith: It depends where you stand on stage. If you stand at the backline, you will get double the delay. At the front of the stage, not so much (depends how far apart the speakers are). Reply by Ivan Beaver: Let’s say you’re downstage center - 20 feet from the backline and the speakers are 40 feet apart. If there is no delay (assuming no delay in processing, console, etc.), then the backline will arrive to you at the same time as the sound from the PA. If you delay the PA by 20 ms, then it will arrive at your position 20 ms late. While this is not long enough to sound like a delay, it will affect the tonal character of the sound. Of course this depends on may different factors - how much spill the PA has on stage (lack of pattern control in the horizontal, which many systems exhibit), how loud the PA is in relation to the backline/monitors, are the musicians wearing IEMs, and so forth. Reply by Kevin Maxwell: I do it all of the time and it really helps the house sound. I’ve never had a musician complain. Of course it will depend on how much the musicians are hearing the sound coming from the house speakers. At the level most musicians have their monitors, this isn’t usually an issue. I’ve never had an issue even when doing it at big band type events, where the only thing usually in a monitor is the singers mic to themselves. Reply by Tim McCulloch: Also who are the lucky 4-6 folks that get to be in the sweet spot? Making things “better” in one place means it’s “unbetter” everywhere else. While the OP didn’t ask about what happens in the house, my advice is the same: Try it and go for a walk to hear what the players and all of the audience will be listening to. Reply by Douglas R Allen: I delay the mains and find it works well for the most part. The only thing I’d recommend is you don’t ask the performers if they notice anything. “Sometimes” when you mention the word “delay” to less educated performers, they might hear things that are maybe not there: “I couldn’t play well tonight because the sound person added delay to my rig…” Of course, should you know the bunch you’re working with, they may like your approach. Try it as a blind test. If they notice and don’t like it, then stop. Should they not notice anything or give positive comments how things just sound better, then explain how you’re doing things to get better sound for “them” on the stage. Reply by John Chiara: I find it can work well on smaller stages, and seems to help on noisier stages to pull the “room” sound together. Depends on the room a lot. Works better in narrow rooms where most of the sound is going forward and not out to side fills. Try it. Reply by Mark Oakley: I’ve had good results delaying mains on deeper stages. If the drums are only 4 to 6 feet back from the frontline of the PA, then there’s not much difference. If the drums are 16 to 20 feet back, then delaying the mains brings the drums (and backline) into “focus.” Try this the next time you’re on a deep stage: measure the distance from the kick drum to the front of the PA and delay the mains that distance. When the band is playing, try bypassing the delay, and see if you notice a difference. I’ve never delayed in an arena situation my arena experience was as an opening act FOH…we got what we got…. But if the snare is loud ..obviously the snare sound is moving at the speed of light thru mic cables pa ect…where as the acoustic sound is moving At the speed of sound…about .9 mls….variations in humidity ect…but pretty close so delaying the pa to that snare can bring a more focused sound but as you can see by the article above that can cause other problems…..just a thought….enjoyed the interview , and the great rack gear…
Love the content! Critique thiugh, leave the background music out. Distracts from the content imo.
Yes! Please! Terribly automated...
That guy Joel Livesey is awesome!!!
that outboard 🥰 , im like , will i ever get one or not ?
When are going to interview CLA???
Definitely agree with going Studio into Live. Every live engineer who started out in the studio has always had a great mix vs anyone who started in the live scene; in my experience.
I've always felt the benefit is that they come from a more diverse background of imagination. In the studio, you're crafting an auditory experience. Live, you are, but can easily fall into the trap of "just make it work" since you're dealing with live elements instead of a mastering process. Also, everything can start to sound generic or the same between your mixes. I fall into that trap myself as an engineer. Working on it, but it is difficult.
Great show
Use an analogue console and keep all the outboard or keep the digital console with no outboard? I wonder which he would choose! I see setups like this with so much outboard and start to think that it is only a matter of time until some people start making the switch back to full analogue, guess the automation would be an issue for this guy without digital.
Great questions!
Did anyone understand the brand of the diy first unit of the left rack ?
4:20 “mkay” 😂
You need to start in a studio setting before you go live so you can understand what you’re doing and later make sense of the issues you’ll encounter live because live the difference is in pa and environmental differences but you can quickly troubleshoot instead of guessing like most people do
Antennae microphone
What about delaying the pa back to the drums?
Explain.
@@DbiPro Does delaying the mains to the backline cause any problems for the performers? A variety of views...
Here’s interesting thread on the Live Audio Board (LAB) forum here on ProSoundWeb, and we present it here with a very light copy edit and trim for space. Perhaps you’ll actually want to experiment with the concept discussed here…
Question posted by John L Nobile: I’ve done a search on this and found a few things, but wanted to know if delaying the mains to the backline will cause any problems for the performers. I’m planning on trying it but just wanted to know what issues (good or bad) anyone has come across.
Reply by Dick Rees: I’ve never had anyone even notice it from the stage. If anything, it should make it better.
Reply by Mac Kerr: How so? Now they not only have the time of flight delay, but whatever you add. It seems like a losing proposition for the musicians.
Reply by Steve M Smith: It depends where you stand on stage. If you stand at the backline, you will get double the delay. At the front of the stage, not so much (depends how far apart the speakers are).
Reply by Ivan Beaver: Let’s say you’re downstage center - 20 feet from the backline and the speakers are 40 feet apart. If there is no delay (assuming no delay in processing, console, etc.), then the backline will arrive to you at the same time as the sound from the PA. If you delay the PA by 20 ms, then it will arrive at your position 20 ms late. While this is not long enough to sound like a delay, it will affect the tonal character of the sound. Of course this depends on may different factors - how much spill the PA has on stage (lack of pattern control in the horizontal, which many systems exhibit), how loud the PA is in relation to the backline/monitors, are the musicians wearing IEMs, and so forth.
Reply by Kevin Maxwell: I do it all of the time and it really helps the house sound. I’ve never had a musician complain. Of course it will depend on how much the musicians are hearing the sound coming from the house speakers. At the level most musicians have their monitors, this isn’t usually an issue. I’ve never had an issue even when doing it at big band type events, where the only thing usually in a monitor is the singers mic to themselves.
Reply by Tim McCulloch: Also who are the lucky 4-6 folks that get to be in the sweet spot? Making things “better” in one place means it’s “unbetter” everywhere else. While the OP didn’t ask about what happens in the house, my advice is the same: Try it and go for a walk to hear what the players and all of the audience will be listening to.
Reply by Douglas R Allen: I delay the mains and find it works well for the most part. The only thing I’d recommend is you don’t ask the performers if they notice anything. “Sometimes” when you mention the word “delay” to less educated performers, they might hear things that are maybe not there: “I couldn’t play well tonight because the sound person added delay to my rig…” Of course, should you know the bunch you’re working with, they may like your approach. Try it as a blind test. If they notice and don’t like it, then stop. Should they not notice anything or give positive comments how things just sound better, then explain how you’re doing things to get better sound for “them” on the stage.
Reply by John Chiara: I find it can work well on smaller stages, and seems to help on noisier stages to pull the “room” sound together. Depends on the room a lot. Works better in narrow rooms where most of the sound is going forward and not out to side fills. Try it.
Reply by Mark Oakley: I’ve had good results delaying mains on deeper stages. If the drums are only 4 to 6 feet back from the frontline of the PA, then there’s not much difference. If the drums are 16 to 20 feet back, then delaying the mains brings the drums (and backline) into “focus.” Try this the next time you’re on a deep stage: measure the distance from the kick drum to the front of the PA and delay the mains that distance. When the band is playing, try bypassing the delay, and see if you notice a difference.
I’ve never delayed in an arena situation my arena experience was as an opening act FOH…we got what we got….
But if the snare is loud ..obviously the snare sound is moving at the speed of light thru mic cables pa ect…where as the acoustic sound is moving
At the speed of sound…about .9 mls….variations in humidity ect…but pretty close so delaying the pa to that snare can bring a more focused sound but as you can see by the article above that can cause other problems…..just a thought….enjoyed the interview , and the great rack gear…
Wait. What are dads???
They’re the guys that tell you what to do and then let you do whatever you want when his wife leaves the room
Today music sound like s__t