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<blockquote data-quote="Jay Barracato" data-source="post: 59571" data-attributes="member: 24">Re: pre-setting side-wash content....I just did one of these at the club(4 people, singer/bassist with wireless stage center, sax with wireless roaming, SL drums, SR piano), and I started with 4 wedges across the front and a dedicated piano wedge. The artist started by turning in the two outside wedges,so I mixed them like sidefills, less piano SR more piano SL and the opposite for the drums, solid sax and bass in both and vocals the strongest. It seemed the band was keying on the vocals for most of their timing cues.By their request, I had only placed mics on the kick and a single overhead on the drums, and ended up not using either except for what was clearly a drum solo. I also discovered (odd for a band lead by a bassist) that they absolutely detested any low end at all. The FOH subs ended up turned way down, the low cut on the piano mics engaged plus a generous high pass on the board. I even ended up with a 125 hz high pass on the bass. At that point I pulled out a couple of eq tricks to give the bass its own character so it could stand out in the mix without the low end.Anyways, I think of using the sidefills to help a band that is used to listening to each other with close physical proximity spread out on a larger stage. Then the wedges are used to add specific needs at each playing position.</blockquote>

[QUOTE="Jay Barracato, post: 59571, member: 24"] Re: pre-setting side-wash content.... I just did one of these at the club(4 people, singer/bassist with wireless stage center, sax with wireless roaming, SL drums, SR piano), and I started with 4 wedges across the front and a dedicated piano wedge. The artist started by turning in the two outside wedges,so I mixed them like sidefills, less piano SR more piano SL and the opposite for the drums, solid sax and bass in both and vocals the strongest. It seemed the band was keying on the vocals for most of their timing cues. By their request, I had only placed mics on the kick and a single overhead on the drums, and ended up not using either except for what was clearly a drum solo. I also discovered (odd for a band lead by a bassist) that they absolutely detested any low end at all. The FOH subs ended up turned way down, the low cut on the piano mics engaged plus a generous high pass on the board. I even ended up with a 125 hz high pass on the bass. At that point I pulled out a couple of eq tricks to give the bass its own character so it could stand out in the mix without the low end. Anyways, I think of using the sidefills to help a band that is used to listening to each other with close physical proximity spread out on a larger stage. Then the wedges are used to add specific needs at each playing position. [/QUOTE]

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