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Junior Varsity
Bluegrass festival
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<blockquote data-quote="Tim McCulloch" data-source="post: 125167" data-attributes="member: 67"><p>Re: Bluegrass festival</p><p></p><p></p><p></p><p>How much excruciating detail do you want? As Alan H intimates, this is an easy genre to screw up. If you do it right it can be some of the most musically rewarding work you'll do.</p><p></p><p>First: bluegrass is a fairly intimate genre, I call it back porch music. Your job is to take that intimacy and interplay and share it with the audience; you spread the love, so to speak.</p><p></p><p>Second: that means "don't rock and roll". Don't add HF to the mandolin or fiddle, you probably don't need to put a hump at 60Hz in the bass. You want the instruments to sound acoustic. If you don't know what the instruments are supposed to sound like, hire a mixerperson who does. You're screwed without familiarity of the instrument sounds. "Don't Rock" also applies to overall SPL. It's inappropriate for the genre and can give you ulcers fighting the feedback.</p><p></p><p>Third: count on 2 types of bands - the single mic (usually a LDC, AT3032 is popular, I use a Rode NT2) and "mic everything". We address the latter with what we call "pods". A pod consists of 1 vocal mic on a tall boom stand, 1 instrument mic (AT4041, AKG C-391, Okatava MK102) on a medium boom, and 1 active DI (Countryman FET85 or Radial J48); we have 4 pods across the downstage, 2 pods mid stage left & right. We also dedicate a line for upstage bass players and 3 lines for bluegrass drummers. The mid-stage pods can be moved around as necessary. You might get a hybrid act, one that uses primarily the LDC single mic, but wants 1 or 2 "walk up" mics for solos.</p><p></p><p>Fourth: have someone be your stage mic wrangler if you're doing monitors from FOH. This person needs to meet with a band representative well before they go on and suss out the stage plot and to tell the players "don't randomly grab mics, please stand where you'll play, and I'll put the mics out; feel free to position them to the sweet spot on your instrument." Give your wrangler a lavalier wireless mic and use your headphones to listen to him/her, and use talkback thru monitors to communicate with the stage. Have your wrangler on stage when setting monitor levels (you can hear what you're doing over his lav mic, just for a reality check) to translate from "bandspeak" to "tech".</p><p></p><p>There are several folks here that mix bluegrass and related genres - Jay Barracato, Dick Rees, John Halliburton all come to mind right away. I'm sure you'll get lots of advice. Do you have any specific questions?</p></blockquote><p></p>
[QUOTE="Tim McCulloch, post: 125167, member: 67"] Re: Bluegrass festival How much excruciating detail do you want? As Alan H intimates, this is an easy genre to screw up. If you do it right it can be some of the most musically rewarding work you'll do. First: bluegrass is a fairly intimate genre, I call it back porch music. Your job is to take that intimacy and interplay and share it with the audience; you spread the love, so to speak. Second: that means "don't rock and roll". Don't add HF to the mandolin or fiddle, you probably don't need to put a hump at 60Hz in the bass. You want the instruments to sound acoustic. If you don't know what the instruments are supposed to sound like, hire a mixerperson who does. You're screwed without familiarity of the instrument sounds. "Don't Rock" also applies to overall SPL. It's inappropriate for the genre and can give you ulcers fighting the feedback. Third: count on 2 types of bands - the single mic (usually a LDC, AT3032 is popular, I use a Rode NT2) and "mic everything". We address the latter with what we call "pods". A pod consists of 1 vocal mic on a tall boom stand, 1 instrument mic (AT4041, AKG C-391, Okatava MK102) on a medium boom, and 1 active DI (Countryman FET85 or Radial J48); we have 4 pods across the downstage, 2 pods mid stage left & right. We also dedicate a line for upstage bass players and 3 lines for bluegrass drummers. The mid-stage pods can be moved around as necessary. You might get a hybrid act, one that uses primarily the LDC single mic, but wants 1 or 2 "walk up" mics for solos. Fourth: have someone be your stage mic wrangler if you're doing monitors from FOH. This person needs to meet with a band representative well before they go on and suss out the stage plot and to tell the players "don't randomly grab mics, please stand where you'll play, and I'll put the mics out; feel free to position them to the sweet spot on your instrument." Give your wrangler a lavalier wireless mic and use your headphones to listen to him/her, and use talkback thru monitors to communicate with the stage. Have your wrangler on stage when setting monitor levels (you can hear what you're doing over his lav mic, just for a reality check) to translate from "bandspeak" to "tech". There are several folks here that mix bluegrass and related genres - Jay Barracato, Dick Rees, John Halliburton all come to mind right away. I'm sure you'll get lots of advice. Do you have any specific questions? [/QUOTE]
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