Taking a swerve from all of the current and amazing digital options lets pretend for a second that you walk in on a rig with an analog setup for your show. You cant bring your fancy digital board your stuck with what is there. The specific board in question is a Soundcraft MH4-40. Youve got two 12 space FOH racks for outboard, what do you hope to see in the racks and what would you prefer to see there? Id like to hear a what you would prefer in terms of Effects, Comps, Gates, EQs etc ANY tool that you want with a professional analog setup in a digital world. An analog setup that would make you happy for the night. Possibly mention the sized venue you typically work in as well as the genre of music.
Analog FOH, Outboard opinions/preferences
- Thread starter Evan F. Hunter
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Re: Analog FOH, Outboard opinions/preferences
Some FX like
TC M3000
Lexicon PCM80/90
or similar.
Compressors DBX, BSS or the Presonus ACP88.
Normally I dont use gates so no gates are required.
For the mains and each monitor channel an EQ but please no DBX. Too much noise.
hmm. Maybe I dontneed all 24 rackspaces;-)
Ah, I'm doing most of the time some rock,jazz or folk combos but also sometimes classical chamber esembles. And the size of te venues is between 150 and 1000 persons.
Some FX like
TC M3000
Lexicon PCM80/90
or similar.
Compressors DBX, BSS or the Presonus ACP88.
Normally I dont use gates so no gates are required.
For the mains and each monitor channel an EQ but please no DBX. Too much noise.
hmm. Maybe I dontneed all 24 rackspaces;-)
Ah, I'm doing most of the time some rock,jazz or folk combos but also sometimes classical chamber esembles. And the size of te venues is between 150 and 1000 persons.
Re: Analog FOH, Outboard opinions/preferences
Another post from Austria...
I do mostly indie rock/pop clubs with a capacity up to 800, most of the time as the house sound guy, sometimes touring with bands. Where I come from, I can recall only one club above 500 capacity, that still uses an analog foh. (midas legend) It's sad to see all the large-frame analogue desks go away, if you ask me...
To your main question:
I think nothing changed in the last 10 years or so in regards to outboard equipment.
4x fx, one of it a tc d-two. Seriously, that's the only tap-delay nobody complains about.
8-12 comps, 6-8 gates. Get a few more, if you often feature multiple bands. Products with only 2 channels per rackspace preferred. no cheap shit, used analog is very affordable nowadays. Buy used but go for the best I woud say!
31-bands for every output way. dbx 1231 and up acceptable.
cd-player
Thats the baseline and i have not had a request for any special items like harmonizers, channel strips or such as long as i can remember in my clubs.
What I would recommend further is a computer with internet connection for 2trk-recording, background music and the last-minute intro from the bands own youtube-clip...
You also need to interface with I-Pods and provide Talkback to stage, but you know that of course.
One last thought: Don't assume that nobody will use his own desk. Get some easy way to interface with your gear - a submixer or a controller with sufficient in- and outputs, and also enough send and return lines from stage to FOH.
Best Regards, Thomas
Another post from Austria...
I do mostly indie rock/pop clubs with a capacity up to 800, most of the time as the house sound guy, sometimes touring with bands. Where I come from, I can recall only one club above 500 capacity, that still uses an analog foh. (midas legend) It's sad to see all the large-frame analogue desks go away, if you ask me...
To your main question:
I think nothing changed in the last 10 years or so in regards to outboard equipment.
4x fx, one of it a tc d-two. Seriously, that's the only tap-delay nobody complains about.
8-12 comps, 6-8 gates. Get a few more, if you often feature multiple bands. Products with only 2 channels per rackspace preferred. no cheap shit, used analog is very affordable nowadays. Buy used but go for the best I woud say!
31-bands for every output way. dbx 1231 and up acceptable.
cd-player
Thats the baseline and i have not had a request for any special items like harmonizers, channel strips or such as long as i can remember in my clubs.
What I would recommend further is a computer with internet connection for 2trk-recording, background music and the last-minute intro from the bands own youtube-clip...
You also need to interface with I-Pods and provide Talkback to stage, but you know that of course.
One last thought: Don't assume that nobody will use his own desk. Get some easy way to interface with your gear - a submixer or a controller with sufficient in- and outputs, and also enough send and return lines from stage to FOH.
Best Regards, Thomas
Re: Analog FOH, Outboard opinions/preferences
I work mostly in the theatrical field doing mostly musical theater as well as straight plays when I get the chance, as well as any other work I can get my hands on.
While most of what I focus on is getting the best input at source (good mics), I find that one of the tools I often mind myself wanting to add in are compressors. These are useful for taming the dynamic sopranos and as well as getting extra warmth out of the men. As said by Thomas, compressors that are good quality and have more control is important ("Products with only two channels per rackspace preferred. no cheap shit..."), as well as gates and perhaps even some expanders, as I tend to find them useful in strange places for my kind of work.
Also, GEQ is incredibly important, and never do less that 31 band if can afford to- but this is mostly because of the fact that I have to cut out a ton of feedback due to theatrical headsets being omnidirectional for the most part. For this reason, I tend to have them patched into the subgroups rather than the outputs themselves so that I don't end up changing the sound of other signals.
This brings me to the next major point that I find often overlooked in the analogue world today- patch bays are one of the most useful things I have. Sometimes, I need to repatch things in places that they wouldn't usually be for reasons such as the GEQ technique I mentioned earlier. Without a patch bay that is very easily accessible, our jobs become very difficult. In addition to it being easy to get to, make sure that it is good quality and can take someone shoving a connector or two faster than suggested at any time. Too often I have to work around dead patch bay channels because of a badly built product.
Anyway, best of luck. Remember to have some stereo effects- always wish I had some extra.
I work mostly in the theatrical field doing mostly musical theater as well as straight plays when I get the chance, as well as any other work I can get my hands on.
While most of what I focus on is getting the best input at source (good mics), I find that one of the tools I often mind myself wanting to add in are compressors. These are useful for taming the dynamic sopranos and as well as getting extra warmth out of the men. As said by Thomas, compressors that are good quality and have more control is important ("Products with only two channels per rackspace preferred. no cheap shit..."), as well as gates and perhaps even some expanders, as I tend to find them useful in strange places for my kind of work.
Also, GEQ is incredibly important, and never do less that 31 band if can afford to- but this is mostly because of the fact that I have to cut out a ton of feedback due to theatrical headsets being omnidirectional for the most part. For this reason, I tend to have them patched into the subgroups rather than the outputs themselves so that I don't end up changing the sound of other signals.
This brings me to the next major point that I find often overlooked in the analogue world today- patch bays are one of the most useful things I have. Sometimes, I need to repatch things in places that they wouldn't usually be for reasons such as the GEQ technique I mentioned earlier. Without a patch bay that is very easily accessible, our jobs become very difficult. In addition to it being easy to get to, make sure that it is good quality and can take someone shoving a connector or two faster than suggested at any time. Too often I have to work around dead patch bay channels because of a badly built product.
Anyway, best of luck. Remember to have some stereo effects- always wish I had some extra.
Re: Analog FOH, Outboard opinions/preferences
Gates and comps... the discontinued BSS DPR504 and DPR404. Throw in a couple of dbx 160, too. Prefer 12 channels of comps, 8 gates.
Main EQ... BSS FCS960 or KT DN360. I'd love a KT DN410 parametric with them. dbx 3231 would be an acceptable substitute for the BSS or DN360
FX... TC 2290 or D2; Yamaha SPX2000 x2; Lexicon PCM 80/90, Eventide H3000x or Orville.
Gates and comps... the discontinued BSS DPR504 and DPR404. Throw in a couple of dbx 160, too. Prefer 12 channels of comps, 8 gates.
Main EQ... BSS FCS960 or KT DN360. I'd love a KT DN410 parametric with them. dbx 3231 would be an acceptable substitute for the BSS or DN360
FX... TC 2290 or D2; Yamaha SPX2000 x2; Lexicon PCM 80/90, Eventide H3000x or Orville.
Re: Analog FOH, Outboard opinions/preferences
Oh what fun this would be! 8)~~
It would probably work out something like this:
I'd have probably 2-3 EFX units, including specifically TC Electronics D-Two and TC Electronics M-One XL and then maybe a Yamaha something or another SPX.
If this system were for me, I'd definitely put a 5 band parametric EQ on each output, preference to the Meyer CP-10, but the Klark one and two channel parametric EQ's would be great or even an old Symetrix 551 or something similar. Regardless, it is strongly preferred for all EQ's to be the same brand so that the similar adjustments on each one result in similar behavior.
But if this system were for someone else to use (such as the average band engineer), I'd probably put in good old Klark DN-360 or DN-370 graphics. One channel for each output.
Then I would fill up the rest of the available rack space with compressors and gates, probably along the lines of 2 compressor channels to each gate channel with a minimum starting point of 4 gates and 8 compressors. Preferred compressors are absolutely the Drawmer DL241 with Drawmer 6-packs being acceptable. The gates should be Drawmer DS201.
Then I would absolutely enjoy working on the Soundcraft MH-4 console. That one is absolutely one of my favorites!
Of course, things being what they are these days, if I were a travelling band engineer, I would probably show up with my own digital console on stage and operate it with a tablet or iPad out front, regardless if you had all this gear on hand. I'd be sad I couldn't use this awesome system, but I've already got the whole damn thing in my travelling digital package so I can't really justify using all your gear.
So, yes, this then brings us around to having a good way to patch my portable console into your house system. You should have a great way to do that, preferably with extra inputs into the system processor so we don't have to repatch your console to mine at set change.
Oh what fun this would be! 8)~
~It would probably work out something like this:
I'd have probably 2-3 EFX units, including specifically TC Electronics D-Two and TC Electronics M-One XL and then maybe a Yamaha something or another SPX.
If this system were for me, I'd definitely put a 5 band parametric EQ on each output, preference to the Meyer CP-10, but the Klark one and two channel parametric EQ's would be great or even an old Symetrix 551 or something similar. Regardless, it is strongly preferred for all EQ's to be the same brand so that the similar adjustments on each one result in similar behavior.
But if this system were for someone else to use (such as the average band engineer), I'd probably put in good old Klark DN-360 or DN-370 graphics. One channel for each output.
Then I would fill up the rest of the available rack space with compressors and gates, probably along the lines of 2 compressor channels to each gate channel with a minimum starting point of 4 gates and 8 compressors. Preferred compressors are absolutely the Drawmer DL241 with Drawmer 6-packs being acceptable. The gates should be Drawmer DS201.
Then I would absolutely enjoy working on the Soundcraft MH-4 console. That one is absolutely one of my favorites!
Of course, things being what they are these days, if I were a travelling band engineer, I would probably show up with my own digital console on stage and operate it with a tablet or iPad out front, regardless if you had all this gear on hand. I'd be sad I couldn't use this awesome system, but I've already got the whole damn thing in my travelling digital package so I can't really justify using all your gear.
So, yes, this then brings us around to having a good way to patch my portable console into your house system. You should have a great way to do that, preferably with extra inputs into the system processor so we don't have to repatch your console to mine at set change.
Re: Analog FOH, Outboard opinions/preferences
This thread is awesome and very relevant to what I am currently doing. I do clock some time on various digital desks (mostly X32 and SC48), but a lot of jobs I do are still on analogue Soundcraft desks. Because of the variety of jobs we do, I sometimes go out solo with a B-rig package while the A rig goes out - with the A rig racks.
Currently piecing together a 14U rack for inserts and effects. Currently it holds a TC D-Two and a Yamaha Rev 500 for FX, on the lookout for a Lexicon PCM 80 and another generic Yamaha FX unit. For inserts I currently have 2 Klark DN514 for gates and a DN504 for compression, on the lookout for a few more DN504s to round out the rack. The current plan leaves me with a spare space in the rack - when you include the Power Strip, Waves MaxxBass and a rack drawer.
I'll be watching this thread for ideas on how to fill that space 8)~~
This thread is awesome and very relevant to what I am currently doing. I do clock some time on various digital desks (mostly X32 and SC48), but a lot of jobs I do are still on analogue Soundcraft desks. Because of the variety of jobs we do, I sometimes go out solo with a B-rig package while the A rig goes out - with the A rig racks.
Currently piecing together a 14U rack for inserts and effects. Currently it holds a TC D-Two and a Yamaha Rev 500 for FX, on the lookout for a Lexicon PCM 80 and another generic Yamaha FX unit. For inserts I currently have 2 Klark DN514 for gates and a DN504 for compression, on the lookout for a few more DN504s to round out the rack. The current plan leaves me with a spare space in the rack - when you include the Power Strip, Waves MaxxBass and a rack drawer.
I'll be watching this thread for ideas on how to fill that space 8)~
~Re: Analog FOH, Outboard opinions/preferences
Thanks for the awesome replies so far guys. A business partner and I have acquired an MH4 for basically pennies. This is a rig that I am setting up for my own pleasure as well as other gigs. Im looking to put together an analog FOH that while most people will prefer digital, it will still put a little smirk on their faces. As mentioned the price of a lot of this gear is really coming down and Its very doable right now.
Tim, This is really spot on to what I have been pricing out. Even with the DN410 that id like to use along with the graphic. I think this is a prime example of what im wanting to do. Thanks for the awesome reply.
Always looking for more input, What do YOU want to see in the racks when you walk into a pro Analog FOH?
Thanks for the awesome replies so far guys. A business partner and I have acquired an MH4 for basically pennies. This is a rig that I am setting up for my own pleasure as well as other gigs. Im looking to put together an analog FOH that while most people will prefer digital, it will still put a little smirk on their faces. As mentioned the price of a lot of this gear is really coming down and Its very doable right now.
Tim, This is really spot on to what I have been pricing out. Even with the DN410 that id like to use along with the graphic. I think this is a prime example of what im wanting to do. Thanks for the awesome reply.
Always looking for more input, What do YOU want to see in the racks when you walk into a pro Analog FOH?
Re: Analog FOH, Outboard opinions/preferences
I think those are some excellent points josh and they are surely noted. Thanks!
Oh what fun this would be! 8)~
It would probably work out something like this:
I'd have probably 2-3 EFX units, including specifically TC Electronics D-Two and TC Electronics M-One XL and then maybe a Yamaha something or another SPX.
If this system were for me, I'd definitely put a 5 band parametric EQ on each output, preference to the Meyer CP-10, but the Klark one and two channel parametric EQ's would be great or even an old Symetrix 551 or something similar. Regardless, it is strongly preferred for all EQ's to be the same brand so that the similar adjustments on each one result in similar behavior.
But if this system were for someone else to use (such as the average band engineer), I'd probably put in good old Klark DN-360 or DN-370 graphics. One channel for each output.
Then I would fill up the rest of the available rack space with compressors and gates, probably along the lines of 2 compressor channels to each gate channel with a minimum starting point of 4 gates and 8 compressors. Preferred compressors are absolutely the Drawmer DL241 with Drawmer 6-packs being acceptable. The gates should be Drawmer DS201.
Then I would absolutely enjoy working on the Soundcraft MH-4 console. That one is absolutely one of my favorites!
Of course, things being what they are these days, if I were a travelling band engineer, I would probably show up with my own digital console on stage and operate it with a tablet or iPad out front, regardless if you had all this gear on hand. I'd be sad I couldn't use this awesome system, but I've already got the whole damn thing in my travelling digital package so I can't really justify using all your gear.
So, yes, this then brings us around to having a good way to patch my portable console into your house system. You should have a great way to do that, preferably with extra inputs into the system processor so we don't have to repatch your console to mine at set change.
I think those are some excellent points josh and they are surely noted. Thanks!
Re: Analog FOH, Outboard opinions/preferences
Thomas I really like some of this ideas and even a little out of the box thinking, especially the computer for recording and accessing material. Ipods, Talkback and sends are a given for sure. Thanks for the response.
Another post from Austria...
I do mostly indie rock/pop clubs with a capacity up to 800, most of the time as the house sound guy, sometimes touring with bands. Where I come from, I can recall only one club above 500 capacity, that still uses an analog foh. (midas legend) It's sad to see all the large-frame analogue desks go away, if you ask me...
To your main question:
I think nothing changed in the last 10 years or so in regards to outboard equipment.
4x fx, one of it a tc d-two. Seriously, that's the only tap-delay nobody complains about.
8-12 comps, 6-8 gates. Get a few more, if you often feature multiple bands. Products with only 2 channels per rackspace preferred. no cheap shit, used analog is very affordable nowadays. Buy used but go for the best I woud say!
31-bands for every output way. dbx 1231 and up acceptable.
cd-player
Thats the baseline and i have not had a request for any special items like harmonizers, channel strips or such as long as i can remember in my clubs.
What I would recommend further is a computer with internet connection for 2trk-recording, background music and the last-minute intro from the bands own youtube-clip...
You also need to interface with I-Pods and provide Talkback to stage, but you know that of course.
One last thought: Don't assume that nobody will use his own desk. Get some easy way to interface with your gear - a submixer or a controller with sufficient in- and outputs, and also enough send and return lines from stage to FOH.
Best Regards, Thomas
Thomas I really like some of this ideas and even a little out of the box thinking, especially the computer for recording and accessing material. Ipods, Talkback and sends are a given for sure. Thanks for the response.
Re: Analog FOH, Outboard opinions/preferences
I am doing the same thing with this new Heritage console I bought. I've always wanted one and since I mix about 50% of my shows myself, why not?? Chili Peppers, Mumford & Son, George Thorogood, and I believe the Rolling Stones are all carrying analog FOH!
I am doing the same thing with this new Heritage console I bought. I've always wanted one and since I mix about 50% of my shows myself, why not?? Chili Peppers, Mumford & Son, George Thorogood, and I believe the Rolling Stones are all carrying analog FOH!
Re: Analog FOH, Outboard opinions/preferences
I was on two shows a couple of summers ago where A list country acts had completely analog FOH supplied by Clair Nashville. Both had 2-3 12 space racks due to all the goodies.
As far as inserts, I am with Tim, it is hard to have too many and even my "small" analog carry rack has 8 channels of comps and gates.
As far as effects, the limiting factor is often how many channels are available to return to. If you have a couple of units for vocals, it is nice to have two parallel paths so you can use one while programming/selecting on the other for the next song.
I was on two shows a couple of summers ago where A list country acts had completely analog FOH supplied by Clair Nashville. Both had 2-3 12 space racks due to all the goodies.
As far as inserts, I am with Tim, it is hard to have too many and even my "small" analog carry rack has 8 channels of comps and gates.
As far as effects, the limiting factor is often how many channels are available to return to. If you have a couple of units for vocals, it is nice to have two parallel paths so you can use one while programming/selecting on the other for the next song.
Re: Analog FOH, Outboard opinions/preferences
i was gonna write a list, but Tim already wrote mine. Seriously.
only thing I'd add is I prefer the drawmer comps and gates a bit to the Brooks stuff, but that's just nitpicking. Otherwise spot on. Varicurve. SPX2000/990. H3k. Yeah, I'm happy.
Oh, and if you had a PCM42 I might actually swoon a bit, but that's just me..
i was gonna write a list, but Tim already wrote mine. Seriously.
only thing I'd add is I prefer the drawmer comps and gates a bit to the Brooks stuff, but that's just nitpicking. Otherwise spot on. Varicurve. SPX2000/990. H3k. Yeah, I'm happy.
Oh, and if you had a PCM42 I might actually swoon a bit, but that's just me.
.Re: Analog FOH, Outboard opinions/preferences
I'll echo what Tim, Jay and Brian have said so far. For EQ I prefer to lean more towards parametric and less towards graphics, but that's a personal preference. Add to that list a pair of Distressors and I'm set.
I'll echo what Tim, Jay and Brian have said so far. For EQ I prefer to lean more towards parametric and less towards graphics, but that's a personal preference. Add to that list a pair of Distressors and I'm set.
Re: Analog FOH, Outboard opinions/preferences
They really do know their stuff- and even though it's not where I work much, they're spot on. Parametrics are hard to come by new these days, and it's why the newer guys lean towards them. If they were as easy to find as graphics, I'd go parametric any day. So much more control.
They really do know their stuff- and even though it's not where I work much, they're spot on. Parametrics are hard to come by new these days, and it's why the newer guys lean towards them. If they were as easy to find as graphics, I'd go parametric any day. So much more control.
Re: Analog FOH, Outboard opinions/preferences
Awesome thanks guys! Alright so it sounds like there is a very common standard that people would like like in terms of Comps/Gates and Effects. A lot of what I expected to hear and a lot of practical quality gear.
Now, are there any uncommon pieces of rack gear that would really just make you impressed and glad to see sitting in the rack next to an MH4? And no, a Digital console is not a valid answer.
Awesome thanks guys! Alright so it sounds like there is a very common standard that people would like like in terms of Comps/Gates and Effects. A lot of what I expected to hear and a lot of practical quality gear.
Now, are there any uncommon pieces of rack gear that would really just make you impressed and glad to see sitting in the rack next to an MH4? And no, a Digital console is not a valid answer.
Re: Analog FOH, Outboard opinions/preferences
As other have said, Tim's response is the right answer. Everything else, including mine is embellishment.
With most folks using digitals, I believe that parametric eq's are much more acceptable than just a few years ago. I would have at least 2 channels, and I would like to have those wired so that I could insert them. Depending on the act and the rig I could opt to put it on the L/R, a particular subgroup, or bothersome channel.
More important that what the gear is, is that it works. These days, when I walk into an analog rig my first thought is 'ooh cool'. My second is, 'crap, I'm going to have to work around a bunch of half working functions'. Last week I system tech'ed a nice Heritage at a festival. Nice console, well maintained, but used infrequently. Consequently, there were a number of scratchy pots and other shenanigans on a show where there really wasn't time for that. With all of the good used gear available for a low price, the COST of the low PRICE is that it's been sitting for a long time which is terrible on old analog gear.
With all that unpleasantness out of the way, I think if you're going to put together a big, awesome analog rig you should add a couple of fun pieces too. I would warn against going too crazy with it because it can make the rig appear piece meal to guest engineers. Consider finding a weird time based effect, a weird frequency effect and a weird dynamic effect to add to the mix. There are plenty of options on which, but what I mean is something like an old Eventide for time based, a DBX 120x for frequency based, and a gritty comp, like a Distressor. The problem with Distrossors is that they're still in demand so the price hasn't gone down on them. Check into a FMR Audio RNLA as a cheaper option. I also really like Aphex Expressors, even though they're really clean and not gritty, they're still in the "fun" category.
I'm glad nobody has put in a suggestion for any of the all in one channel strips, and I'll go ahead and preemptively put in a -1 for anybody who does. I've always found even the pretty nice ones underwhelming and prone to jack of all trades, masters of none syndrome. Or another words I don't see why in the world you'd bypass the channel strip on an MH-4 to get a 3 band parametric with one mid sweep and no Q, a 2 knob compressor. Seems to me to be a step back to a Mackie 4 bus.
My 2c,
thomas d.
As other have said, Tim's response is the right answer. Everything else, including mine is embellishment.
With most folks using digitals, I believe that parametric eq's are much more acceptable than just a few years ago. I would have at least 2 channels, and I would like to have those wired so that I could insert them. Depending on the act and the rig I could opt to put it on the L/R, a particular subgroup, or bothersome channel.
More important that what the gear is, is that it works. These days, when I walk into an analog rig my first thought is 'ooh cool'. My second is, 'crap, I'm going to have to work around a bunch of half working functions'. Last week I system tech'ed a nice Heritage at a festival. Nice console, well maintained, but used infrequently. Consequently, there were a number of scratchy pots and other shenanigans on a show where there really wasn't time for that. With all of the good used gear available for a low price, the COST of the low PRICE is that it's been sitting for a long time which is terrible on old analog gear.
With all that unpleasantness out of the way, I think if you're going to put together a big, awesome analog rig you should add a couple of fun pieces too. I would warn against going too crazy with it because it can make the rig appear piece meal to guest engineers. Consider finding a weird time based effect, a weird frequency effect and a weird dynamic effect to add to the mix. There are plenty of options on which, but what I mean is something like an old Eventide for time based, a DBX 120x for frequency based, and a gritty comp, like a Distressor. The problem with Distrossors is that they're still in demand so the price hasn't gone down on them. Check into a FMR Audio RNLA as a cheaper option. I also really like Aphex Expressors, even though they're really clean and not gritty, they're still in the "fun" category.
I'm glad nobody has put in a suggestion for any of the all in one channel strips, and I'll go ahead and preemptively put in a -1 for anybody who does. I've always found even the pretty nice ones underwhelming and prone to jack of all trades, masters of none syndrome. Or another words I don't see why in the world you'd bypass the channel strip on an MH-4 to get a 3 band parametric with one mid sweep and no Q, a 2 knob compressor. Seems to me to be a step back to a Mackie 4 bus.
My 2c,
thomas d.
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Re: Analog FOH, Outboard opinions/preferences
Tim's list is a great one for most folks and should meet most riders. I actually prefer the DBX 1066 over the 160 but both are good and I have both in my A rack. I also like the 2 channel Drawmer and Aphex (612 and 622) gates. I usually try to make anything I have thrown at me work. I always carry a small FOH rack with me regardless with a few things I like. Here is what I prefer for most of the shows I do:
1) Any good tap delay. The D2 is fine. TC 2290 is extra good but not necessary.
2) A really good reverb. I prefer a Lexicon PCM 70 or above but I am spoiled always having Lexicon PCM units since I came from the studio. I currently carry a PCM 91.
3) A really good multi effects unit. I like the Eventide H3000 and up but a TC M-One and up or Yamaha SPX etc. will work.
More is great, especially another delay line, but I can be happy with those three things.
4) Four really good channels of compresson. I like the DBX 1066 as a minimum. More is better but I am usually good with bass, the money channel, and a pair across the stereo output unless there is a problem somewhere or a really sloppy accoustic guitar.
5) A really good gate for each drum but a well tuned and dampened kit will trump the use of gates anytime.
6) Klark Teknik DN360 or better on FOH.
7) A decent 31 band on each monitor channel. The sleeper is the Peavey EQ31FX (only that model from Peavey and it is rare) it sounds almost as good as the KT for that application and the FLS LED lights are great if you are running monitors from FOH and a luxury if you are at the stage with a seperate console.
I do mostly Rock and country shows these days and most of them are outside but this set up will work anywhere for me with almost any type of act except for something really out of the ordinary.
Tim's list is a great one for most folks and should meet most riders. I actually prefer the DBX 1066 over the 160 but both are good and I have both in my A rack. I also like the 2 channel Drawmer and Aphex (612 and 622) gates. I usually try to make anything I have thrown at me work. I always carry a small FOH rack with me regardless with a few things I like. Here is what I prefer for most of the shows I do:
1) Any good tap delay. The D2 is fine. TC 2290 is extra good but not necessary.
2) A really good reverb. I prefer a Lexicon PCM 70 or above but I am spoiled always having Lexicon PCM units since I came from the studio. I currently carry a PCM 91.
3) A really good multi effects unit. I like the Eventide H3000 and up but a TC M-One and up or Yamaha SPX etc. will work.
More is great, especially another delay line, but I can be happy with those three things.
4) Four really good channels of compresson. I like the DBX 1066 as a minimum. More is better but I am usually good with bass, the money channel, and a pair across the stereo output unless there is a problem somewhere or a really sloppy accoustic guitar.
5) A really good gate for each drum but a well tuned and dampened kit will trump the use of gates anytime.
6) Klark Teknik DN360 or better on FOH.
7) A decent 31 band on each monitor channel. The sleeper is the Peavey EQ31FX (only that model from Peavey and it is rare) it sounds almost as good as the KT for that application and the FLS LED lights are great if you are running monitors from FOH and a luxury if you are at the stage with a seperate console.
I do mostly Rock and country shows these days and most of them are outside but this set up will work anywhere for me with almost any type of act except for something really out of the ordinary.
Re: Analog FOH, Outboard opinions/preferences
While it's not something one would carry in a standard rack, you might want it for the sound of the preamp, or to alter the sound of the mic before mixing, and finally you might need one to create an obscure effect. And you're not bypassing the channel strip on the console, you are supplementing it. Not to mention you could always run the channel strip before you hit the console, and then run a line signal into the MH4.
At any rate that wouldn't be part of a standard effects rig anyway. Just something to add for shits and giggles or a certain application.
While it's not something one would carry in a standard rack, you might want it for the sound of the preamp, or to alter the sound of the mic before mixing, and finally you might need one to create an obscure effect. And you're not bypassing the channel strip on the console, you are supplementing it. Not to mention you could always run the channel strip before you hit the console, and then run a line signal into the MH4.
At any rate that wouldn't be part of a standard effects rig anyway. Just something to add for shits and giggles or a certain application.
Re: Analog FOH, Outboard opinions/preferences
A few channels of SPL Transient Designer would be cool.
Even if it's a digital piece, a Waves MaxxBCL would be way cool to find in an outboard rack when guest BE'ing.
A few channels of SPL Transient Designer would be cool.
Even if it's a digital piece, a Waves MaxxBCL would be way cool to find in an outboard rack when guest BE'ing.
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