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Junior Varsity
Metal/hardcore/punk live sound.
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<blockquote data-quote="Roy Andrews" data-source="post: 216497" data-attributes="member: 15263"><p>Have you considered getting a Behringer X32 Rack (or similar digital rack mixer)? Then you can keep all your wires on stage & mix from a computer wherever you want to be in FoH. Even walk around with it & check your sound from various points in the venue, especially easy if you get some kind of touch screen ultrabook in the 12" to 14" range (1920x1080 FHD screen is best - I use an old Dell 7280 12" I got busted up for cheap & resuscitated).</p><p></p><p>No reason not to low cut the bass & kick, say at 20Hz. (Edit - fixed E to B for 5 string) Low B on a 5 string bass is about 30Hz (and low E closer to 40Hz on a 4 string), if your low cut has a steep curve, it will not affect the bass or kick & you keep from wasting valuable watts on amplifying frequencies that are of no musical value.</p><p></p><p>What is wrong with the subs you have? The new JBLs might simplify wiring being self powered & all, but in terms of bang for the buck, I'm not sure they bring all that much to the table.</p><p></p><p>I always try to get direct lines from the guitar pedalboard or amp. Less mics = less chance of feedback & less bleed from everything else on stage, especially drums. Most modern pedals, either for bass or guitar have fantastic amp modelers in them, so mic-ing amps is a lot less important than it was in the old days. If you can get the bass player to give you a more nasal sound, say by using more output from the bridge pickup, or by using something like a Fender Bassman B100 amp model (as opposed to an Ampeg B115 model) from a bass pedal, it will cut through the mix better, give you more bass punch & articulation for the audience.</p><p></p><p>You absolutely MUST get control of the stage volumes of amps. You do not want to be "chasing" the guitar amp with your system, that is a recipe for what I call "the mud mix"... where everything is really loud, but absolutely nothing is clear & articulate. You can use the bass player's amp to help out your system if you need to (although with dual 18's, you probably won't need much), but those guitar amp(s) have to come down to a reasonable volume, so that you can spread the guitar(s) out wide across your EONs on the FoH mix. Quieter & clean is always more impressive and less fatiguing to listen to than loud & muddy.</p><p></p><p>One thing that really helps control stage volumes is getting musicians in the habit of using in ears monitors. You can get wired in ears done on the cheap with the Behringer PowerPlay P2 (~$45 - freakin awesome little box). A cheap(ish) wireless option for somebody who runs around on stage is the Xvive U4 (~$220). This is where something like an X32 rack or QSC Touchmix comes in handy, with 10-11 AUXes to drive in ears monitors. There is nothing wrong with going mono on the in ears for a low budget option to get started. I do not condone the sharing of what I consider personal items (earbuds / In ear monitors), but right now (April 2022), if you search for "CCA NRA in Ear Monitor Earphones Electrostatic + 3 Magnetic Dynamic Driver", these things are an absolutely INSANE sound quality for a measly $25, so if your people are ok with the sharing of personal items, grab a bunch of these to go with the Behringer P2 boxes. Or get your people to buy them for themselves - they make amazing headphones for your portable music devices too.</p><p></p><p>Not a fan of Shure SM58 for male vocalists although it will tone down a shrill female vocalist - lol. The Sennheiser e935 gives a much better presence in the mix. Alternately, the mics that TC Helicon make for use with their vocal effects processors have excellent presence, and can sometimes be found for a real deal - but the safe bet is the e935.</p><p></p><p>If your mics are clipping, then you probably haven't done your gain staging properly. I sometimes see clipping on a really hot line from a guitar amp, even with board gain set to minimum, so that's where a direct box with a pad comes in handy. You can work on this without a band present by setting up your board at home & shouting & screaming into your mics & setting the gain so your channel meter is in the -12 range. Then when you set up with a real band, check to make sure it stays in that range... I'm assuming your channel meters are post gain and pre fader, but I don't know the boards you are using.</p></blockquote><p></p>
[QUOTE="Roy Andrews, post: 216497, member: 15263"] Have you considered getting a Behringer X32 Rack (or similar digital rack mixer)? Then you can keep all your wires on stage & mix from a computer wherever you want to be in FoH. Even walk around with it & check your sound from various points in the venue, especially easy if you get some kind of touch screen ultrabook in the 12" to 14" range (1920x1080 FHD screen is best - I use an old Dell 7280 12" I got busted up for cheap & resuscitated). No reason not to low cut the bass & kick, say at 20Hz. (Edit - fixed E to B for 5 string) Low B on a 5 string bass is about 30Hz (and low E closer to 40Hz on a 4 string), if your low cut has a steep curve, it will not affect the bass or kick & you keep from wasting valuable watts on amplifying frequencies that are of no musical value. What is wrong with the subs you have? The new JBLs might simplify wiring being self powered & all, but in terms of bang for the buck, I'm not sure they bring all that much to the table. I always try to get direct lines from the guitar pedalboard or amp. Less mics = less chance of feedback & less bleed from everything else on stage, especially drums. Most modern pedals, either for bass or guitar have fantastic amp modelers in them, so mic-ing amps is a lot less important than it was in the old days. If you can get the bass player to give you a more nasal sound, say by using more output from the bridge pickup, or by using something like a Fender Bassman B100 amp model (as opposed to an Ampeg B115 model) from a bass pedal, it will cut through the mix better, give you more bass punch & articulation for the audience. You absolutely MUST get control of the stage volumes of amps. You do not want to be "chasing" the guitar amp with your system, that is a recipe for what I call "the mud mix"... where everything is really loud, but absolutely nothing is clear & articulate. You can use the bass player's amp to help out your system if you need to (although with dual 18's, you probably won't need much), but those guitar amp(s) have to come down to a reasonable volume, so that you can spread the guitar(s) out wide across your EONs on the FoH mix. Quieter & clean is always more impressive and less fatiguing to listen to than loud & muddy. One thing that really helps control stage volumes is getting musicians in the habit of using in ears monitors. You can get wired in ears done on the cheap with the Behringer PowerPlay P2 (~$45 - freakin awesome little box). A cheap(ish) wireless option for somebody who runs around on stage is the Xvive U4 (~$220). This is where something like an X32 rack or QSC Touchmix comes in handy, with 10-11 AUXes to drive in ears monitors. There is nothing wrong with going mono on the in ears for a low budget option to get started. I do not condone the sharing of what I consider personal items (earbuds / In ear monitors), but right now (April 2022), if you search for "CCA NRA in Ear Monitor Earphones Electrostatic + 3 Magnetic Dynamic Driver", these things are an absolutely INSANE sound quality for a measly $25, so if your people are ok with the sharing of personal items, grab a bunch of these to go with the Behringer P2 boxes. Or get your people to buy them for themselves - they make amazing headphones for your portable music devices too. Not a fan of Shure SM58 for male vocalists although it will tone down a shrill female vocalist - lol. The Sennheiser e935 gives a much better presence in the mix. Alternately, the mics that TC Helicon make for use with their vocal effects processors have excellent presence, and can sometimes be found for a real deal - but the safe bet is the e935. If your mics are clipping, then you probably haven't done your gain staging properly. I sometimes see clipping on a really hot line from a guitar amp, even with board gain set to minimum, so that's where a direct box with a pad comes in handy. You can work on this without a band present by setting up your board at home & shouting & screaming into your mics & setting the gain so your channel meter is in the -12 range. Then when you set up with a real band, check to make sure it stays in that range... I'm assuming your channel meters are post gain and pre fader, but I don't know the boards you are using. [/QUOTE]
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