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Junior Varsity
Analog FOH, Outboard opinions/preferences
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<blockquote data-quote="Max Warasila" data-source="post: 89668" data-attributes="member: 3845"><p>Re: Analog FOH, Outboard opinions/preferences</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>Anyway, best of luck. Remember to have some stereo effects- always wish I had some extra.</p></blockquote><p></p>
[QUOTE="Max Warasila, post: 89668, member: 3845"] 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. [/QUOTE]
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