RHCP New Orleans

Re: RHCP New Orleans

Digital consoles negates the need for advanced mix planning.
You need a insert in the middle of a festival, press ON in the insert section of desired channel, no need to run around the back and patch it in.
With analog you had a limited number of inserts and had to think ahead. "Do I wan this comp on the snare, and this on the bass, which one sounds best on the lead vocal" and so on.....

And copy/paste/scenes!
Doing monitors on a analog setup is a PITA, manually copying eq's across mixes and no individual scenes between acts.

FWIW :)
 
Re: RHCP New Orleans

brian maddox said:
As an old guy with lots of analog muscle memory who spends ALL his time on a digital desk i have to say i see both sides of this.

I was an early adopter of digital and definitely prefer it for all the reasons that i should. However, even after over a decade mixing on digital systems i can still throw and go a mix more quickly on an analog system. Is that because of my coming up on analog or is it a function of the obviously different workflows required by both technologies? I honestly think it's both.

I think there are speed advantages to both systems. Digital certainly requires much less running back and forth over an 8 foot work surface. But analog offers a HUGE amount of instant feedback with just a quick visual sweep of the desk that a digital system just can't provide. I also think that the simple fact that the analog system offers far LESS options actually tends to increase the speed of the workflow. There's just less choices to make and less things to futz with.

All that being said am i going back to analog? nope. But if my ONLY criteria for console choice was how fast can you turn the mess coming from the stage into something that sounds like music, i'd probably prefer an analog system. Until i got the rough mix dialed in. Then i'd be looking for all my dynamics and plugins. :)
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/* And quote Helge too, but I am lazy... */

You know, I've been finding that being able to throw a comp on every channel can really trip newer mixers up. I'm just starting to get good enough to know when to simply not with the compression, but the temptation to just add it to the routine of a channel strip is a bad habit that's all too easy on digital consoles with a million options. I only mention this because I was just watching a show the other day in which the mix was destroyed thanks to the miracles of compression on every channel - when there were more important things like simple mix balance to attend to. If they'd have just lost the comps and focused more on mic technique and other basics, the show would have sounded phenomenal.
 
Re: RHCP New Orleans

Max Warasila said:
/* And quote Helge too, but I am lazy... */

You know, I've been finding that being able to throw a comp on every channel can really trip newer mixers up. I'm just starting to get good enough to know when to simply not with the compression, but the temptation to just add it to the routine of a channel strip is a bad habit that's all too easy on digital consoles with a million options. I only mention this because I was just watching a show the other day in which the mix was destroyed thanks to the miracles of compression on every channel - when there were more important things like simple mix balance to attend to. If they'd have just lost the comps and focused more on mic technique and other basics, the show would have sounded phenomenal.
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I do know that coming up first trying to make a show good with NO dynamics. Then having the luxury of 2-4 compressors. And then basking in the warm analog glow or an "8 by 8" gate and comp complement has certainly made me a MUCH better music mixer. i did a lot of GREAT sounding shows with 8 and 8 and i'm convinced i could still do it today. And yeah, that makes me much less likely to throw a comp on everything just because they're there.
 
To bump this thread. If anyone follows Dave on Instagram, he was quite harsh in his description of the Clair Rig, even going so far as to say he prefered the VDOSC rig on another stage.

He was quite complimentary of the Martin MLA, interesting as that was a big conversation on the 'other forum'.
 
dratsound And for today's pa of the day to mix upon, I shall dial up peppers on Delicate Productions Martin MLA system. let's hope it treats me better than that misery of a Clair cohesion rig I had at New Orleans Jazz fest.
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And Later...

dratsound Our first gig this tour was new Orleans, I did a line check and kept struggling with EQ, maybe the heat? Maybe the heavy scrim in front of the PA? I had heard a lot of promo push about the Clair Cohesion and it seemed to be ok sounding. I went to listen to several other bands through it and they all sounded similar to the sound I was getting so I ruled out it being just a me issue. Then I went to get some crawdad ettoufe and off in the distance I hear this crisp clear sparkling sound, distinct clarity I had been seeking but never found. As I get closer I see it is a delay cluster with an L-acoustics Kara rig. It sounded miles better that anything I was getting and I really am not a big fan of Kara. Then I went to hear the main system on that stage and it sounded even better and had the same scrim same outside temp and humidity and it was an old v-dosc rig. I then walked back and proceeded to struggle and fail to even get close to the sound I was seeking from the rig on my stage. Oh, and this MLA rig I had tonight was quite nice, I really enjoyed mixing on it perhaps more than a d and b J.
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Take from it what you will, I thought it was an interesting follow up to this thread, as well as one on the other forum that was previously closed by mods.
 
Brandon Blakeney said:
Re: RHCP New Orleans

For touring I can see digital being handy, but for what I do (mixing local, regional, and occasionally national acts from absolute scratch) it is not efficient not to have everything right in front of me at once. It takes at least twice as long to soundcheck a band on my M7 or other digital console as it does on my analog consoles. Some headliner acts I've had in the last year or so don't even soundcheck until right before they play. Also, my M7 locked up on us in the middle of a show last year, had to have the band stop playing and everything.

I'm not opposed to technology, I love my powered TVI Line Arrays with built-in digital DSP's. We've not had one single failure since new on those boxes.
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Might be a case of it being an M7, rather than a 'digital'. Most of them are getting old and are a bit of a far cry from a modern digital.


Sent from my iPhone
 
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