Re: BEs and System DSP
My rider dictates, and I do actually demand, access to all DSP settings. I too have a line in the rider that demands all systems be on most recent manufacturer presets. This was mostly added for Vertec providers, who are the worst offenders when it comes to making their own presets.
I would never change output settings (FKA crossover settings) but frequently change input eq. I almost always turn down the subs. On a Galileo I always like to look and see how the provider has used it's myriad tuning options. I like using array correction and atmospheric correction, so I will often add that in if they have opted not to. This is, of course, after listening.
The more zones, the less likely I am to dive in. I did two shows at Hamer Hall in Melbourne last week. They have over 100 outputs from their D-mitri feeding Milo, M'elodie delay clusters, under balconies, etc. It was tuned by Bob McCarthy. It sounded amazing. There was no array correction or atmospheric correction, but I wasn't going to touch it.
Earlier in the summer I dug myself into a hole at Central Park Summer Stage. They had hired someone to tune their Mica array and there were some very strange filters in, like a shelving boost of everything below 500. The system tech said they often bypass some of it but leave some in. I listened and it just didn't sound very good. The system tech agreed. 8 per side Mica outdoors should not take a lot of work to make me happy. So I started over. I was disappointed with the results. It happens. Lesson learned.
Occasionally I have system techs who are resistant to opening up their DSP's. I am mixing an act in the 80db range so there is no chance of damaging the PA. There is not a good defense of limiting its access other than speaker protection. I don't think I have ever lost the argument.
