EBS_freak

[quote name='JPJ' timestamp='1478538270' post='3169711'] I like the op look after our live sound, but I'm not a sound engineer. For a good drum sound, I've found a good hard gate to get rid of any after ring, followed by running the drums through a little bit of reverb just to warm them back up a little gives me the best result in 95% of the venues we play. As to crossover points, I prefer something in the 100-120 area, but as I use a pseudo crossover on our Behringer X-Air (combination of a high pass and a low pass on the mains and one aux, running the subs from the low passed aux out) I have the best control over the balance of the rig, much better imho than when we used a dedicated crossover. As with all these things, you have to first know what your gear can/cant do, and then experiment until you find something that works for you. [/quote] Reverb on snare is cool - but I would never advocate reverb on a bass drum! - one way ticket to mushville! Funnily enough - with most digital desks, you can see the higher and lower thresholds of reverb frequencies - so for example, on a snare, you'd get reverb on the mid to high end for the nice "airy" reverb, but can cut it so that the bassier elements of the snare don't get any 'verb applied. So yeah, same thoughts apply to floor tom with reverb - don't go mad! Hats especially, you actually want some definition in all those hits!

The best for what? Tone, volume, looks, ruggedness, weight, size, resale, bragging rights...? Given that a lot of the above are subjective, I wouldn't trust any answer that is given to you. I'm sure both camps have very happy customers.

[quote name='RockfordStone' timestamp='1478525985' post='3169603'] clearly he wasn't there to witness the impact they made [/quote] Not the whole "Paul is dead" thing...

http://yankee.com.pl/?lang=en

Even Paul is having second thoughts...

In addition to what has already been said on the thread, I would actually advise against using presets. I've yet to find a digital desk where the presets are anywhere near where I would want them to be. Desk manufacturers cannot begin to guess what mics are going to be in play, so it seems more of a selling point to con people into thinking that they are simple "push the button" solutions - which of course they aren't. The key to getting a good mix is spending some time to getting your ears used to frequencies. Don't be afraid to experiment - again, I would say it's worth hiring a room for the day just to play and get your sound as tight as it can be. Looking at moonbass response, theres a couple of things that you can do to make life easier. First is, look at your mic. If you want a mic that will instantly get you in the ballpark, check out the Audix D6... its the most dishonest drum mic out there, with a response that is pretty much where you would want your EQ to be. I understand that quite a considerable investment, especially if you have a drum mic already. So here's the key frequencies... Boost 65Hz with quite a wide bandwidth (check the "q" setting on your eq) - but for your subs, HPF at about 45-50 Hz (Again must stress that this is not a formula - you must use your ears). Moonbass is right about the boxiness- so follow those tips. For click, you've got a couple of good options - 1 find the click using the eq... but you can artificially enhance the click using the credit card trick - which is literally taping a credit card loosely to the the area where the beater hits... so you'll get the natural click and the click of the credit card. I'm not a big click fan but plenty of people are - so this may get you where you want to be with minimal hassle... especially if you are having difficulty picking out the frequencies. Mic placement is key - a lot of people simply chuck a bass drum mic in the bass drum and expect a great sound. Unlikely to happen. Your sound is going to be a lot tighter if you aren't picking up all the sound bounding around inside the drum... so you may want to invest in a bass drum mic stand if you haven't already, and place it closer to the exterior of the drum. Again, the exact positioning depends upon the mic and the drum itself. Oh yeah, make sure your bass drum is tuned - thats going to be a helpful start! Compressing the hell and above all (this is the number one) applying a gate to the kick is where you are really going to start tightening up your drum sound. I've looked into the gate thing briefly and it would appear your mixer has a gate available on all channels - but it may require a firmware update if it hasn't. Again, literally just a quick read on my phone. I'd be very surprised if a gate has been overlooked as it's pretty much an essential tool when micing up a drum kit. Oh - worth mentioning... don't go to crazy on the compression or you may get a lock where you pretty much get instant feedback... and the floor tom may trigger that. As for me micing the bass drum now? Well... I'm quite anal about getting the perfect bass drum sound... so I went into a studio, recorded the bass drum in various situations using different mics. Then I played with the EQ, sub bass, enhancers and everything to get my perfect bass drum sample. I set up my PA in a dead room and fine tuned til I got it where I wanted to be. From venue to venue now, the tweaks are minimal if anything at all. What do I do with this sample? I simply trigger that. None of the problems associated with micing up a bass drum, an open mic removed off stage and nobody can understand why I can get get peoples bass drums sounding so mentally good. So now you know. Again, this is probably over kill for most people - as it's a lot more expensive to do this than but a bass drum mic! The rest of the kit is miced up traditionally. And no, you can't have my bass drum sample!

[quote name='FuNkShUi' timestamp='1478507964' post='3169432'] Sorry to hijack this thread a little, but do you recommend putting a HPF on everything? We run vocals,keys,sax,drums and bass through our PA. Should we put a HPF on all of them? [/quote] Depends on how good your subs are... but probably yes - but it depends if you can specify at which point the HPF is set. For an analogue desk with a fixed HPF of say 100hz... well, that isn't going to help your kick drum... but if you can HPF your kick at say 40-50hz, given your chest thumping fundamental happens at about 65Hz, you'll suddenly start tightening up your subs and making them more efficient.

[quote name='ahpook' timestamp='1478305694' post='3168392'] George was the coolest, btw. [/quote] Yes, that George Martin was a legend.

[quote name='largo' timestamp='1478271723' post='3168090'] That looks like the one. So, just double checking. The power supply doesn't have to be rated at 150mA? Will it only draw the current it requires? [/quote] Correct. Same principle applies with fx pedals... you can keep daisy chaining power to run multiple pedals off one supply but if you attempt to draw more power than the PSU can supply, your pedals will start behaving like they've all run out of batteries!

[quote name='bassace' timestamp='1478269473' post='3168066'] Sorry, my big mistake. Note to self: engage brain before operating iPad. [/quote] To be honest, the link doesn't make for clear reading!

[quote name='Mykesbass' timestamp='1478268420' post='3168054'] But what about his brother Bryan? [/quote] He's out at the Tickled Trout that day.

This is the adapter isn't it? If so, any 12v adapter off eBay, centre positive will do you. http://www.ebay.co.uk/itm/12v-2-amp-5-5mm-x-2-5mm-x-10mm-center-positive-replacement-power-supply-adapter-/161129756584?hash=item258414f7a8:g:5DwAAOxyOypSYAeW http://www.ebay.co.uk/itm/SY-12040-BS-AC-DC-ADAPTER-12V-450MA-POSITIVE-CENTRE-124169-/112158390940?hash=item1a1d293a9c:g:Z~kAAOSw8gVX9TFt http://www.ebay.co.uk/itm/12V-300ma-0-3a-DVE-DVR-1230UK-4114-input-center-positive-connector-Mains-plug-/262660615637?hash=item3d27caedd5:g:QUYAAOSwCGVX9hkn http://www.ebay.co.uk/itm/12v-300ma-0-3a-DVE-DVR-1230UK-4114-input-center-positive-connector-mains-plug-/221361266624?hash=item338a28dfc0:g:KrYAAOSwHnFVhkMe

[quote name='bassace' timestamp='1478267595' post='3168042'] Bryan Terfel - WTF? [/quote] Bryn Terfel is for the Cheltenham music festival, not the Cheltenham jazz festival.

IBT Rickenb@cker related L

[quote name='BigRedX' timestamp='1478256359' post='3167887'] By the time that Nirvana became popular the music scene was already far too fractured for them to have very much influence outside of the rock genre. [/quote] Yeah, you're right. With circa 75m record sales (and remember their career was shorter than most) they were merely a blip on everybody's radar and didn't change or influence anything outside the rock genre. They didn't get kids buying guitars again and setting up bands in their garages or anything. Just google "most influential musicians" and try and find a list where Nirvana or Cobain aren't mentioned. Nirvana and Cobain are still cult now... with kids who weren't even around at the time, wearing hoodies and tees with the Nirvana logo or band imagery on them... and the entire back catalogue downloaded on their phones. The key reason they are important in musical history is because they were doing something that was completely different to what everybody else was doing at the time and ultimately enabled the pop factories to be overthrown (with music that they wrote themselves instead of the norm where other songwriters were getting their songs assigned to whatever artist was flavour of the month to record...) Which other band in this thread does that remind you of?

That McCartney bloke would be nothing without Kanye too.

Never mind the Beatles... what about Nirvana? In the sea of Bubblegum pop that was emerging at the time, Nirvana came through and saved us. I hate Nirvana. But I do appreciate them opening the doorfor subsequent bands at a time where everything was turning to sh1t.

Owen - if you want to check out more of his stuff, his name is Nick Semrad. Got talking to him at the end - was funny, everybody was herding around Cory post show and nobody seemed to care about the other musicians who had just pulled off some ridiculous stuff... Anyway, he came over to me to say hello and we started talking (in reality, I'd only gone over to his side of the stage as I was on a gear stalk ).

[quote name='owen' timestamp='1478173559' post='3167241'] I would probably agree with you. He was doing insane things most of the time (in a good way) just supporting the whole, but then took a beautifully considered almost straight jazz piano solo in the final number. The way he built up to and landed the ends of his phrases was sublime. The whole project is just state of the art. [/quote] Was that in Proud Mary? - the contrary motion thing that he had going on in that song in Birmingham was just out of this world.

^ if you are going that route... and you would consider paying a bit of cash... off the top of my head... Grace Design M103 SSL X Logic Alpha Channel Neve 8801 Kemper Profiler

How good was the other keys player too? One ridiculous keys player is one thing... two is just plain ridiculous. In Birmingham, I actually thought he had the solo of the night.

[quote name='owen' timestamp='1478166551' post='3167179'] You were not wrong [/quote] Woop! Two thousand zero zero....

And now I am running with full hybrid kit - triggers ahoy! Looking forward to mixing with all this. EDIT: sounds pretty immense - but you'll still need a mic if your drummer is into his ghost notes... to be honest, the blend of both the trigger and mic is where it's at.

Glad to help. That 905 should be a good match for those tops - so it defo sounds like a HPF issue to me. You never said what instrument you are putting through your PA - if you haven't put any HPF on your bass, along with compression, things will sound pretty swampy in the lows.

Sharay was most excellent last night. In fact, they all were. To have one keys player to that ability is amazing. To have two? Insane. Anybody in Manchester be prepared for an incredible lesson in funk!