Hey folks:

I'm just in the process of setting up my channel libraries on my DDX3216,
and I am trying to come up with stock channel EQ and dynamics settings for
different inputs. For example, what are the best settings for bass guitar,
male vocal, female vocal, guitar, etc? In the past, I've done this manually
because my desk was analog and did not save fader settings, etc. Since I
have a desk where I can save channel settings, I'd like to be able to
pre-program these settings and then be able to recall them when setting up
for a gig (after getting trim levels set). As a bassist tasked with running
the board, I'm still fairly new to the concept of getting various
instruments to "sit in the mix" correctly. I realize that there are no
perfect settings for this, but I figure that at least there must be a
starting point after which minor adjustments can be made.

So, when you sit down at your desk after you have set your channel trims,
what is next? Do you automatically adjust EQ levels to preset levels prior
to soundcheck using an input list? Do you crank in some compression/gating
on inserts for certain inputs? Then, during soundcheck, what adjustments do
you typically make to get the various instruments and vocals to sit together
in the mix (e.g.so that different intruments have their own frequency bands
in the overall soundscape)?

I will say that I'm accomplished enough to get gain structures set properly
and FOH EQ fairly well set for a given venue. But, it seems to me that the
one trick that experienced FOH engineers have that I lack is a sense of how
best to tastefully and artfully set those channel strips to maximally
reproduce the different elements in a complex mix.

Any input appreciated.

Craig

--


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[Fletcher]

Originally Posted by ceedub

Hey folks:

I'm just in the process of setting up my channel libraries on my DDX3216,
and I am trying to come up with stock channel EQ and dynamics settings for
different inputs. For example, what are the best settings for bass guitar,
male vocal, female vocal, guitar, etc?

The best "default" setting is 'flat'. If you need EQ, add some... but if you can get it right with microphone selection and placement then that is infinitely preferable.

Dynamics settings? What are you trying to do? If you're trying to perform envelop modification then it might be handy to have a handle on what you're trying to modify before you attempt to perform that modification... if you're looking to 'peak limit' then know the limitations of the system and set up your limiters in a manner that will perform the required protection.

There is no rule that says you have to turn any knobs to have performed your job... often knowing what knobs not to turn is more important than touching anything...

Now... if you're going to be working on the same show with the same artist night after night [like a tour for instance] then you can get basic presets in "production rehearsals" that will translate from show to show, song to song, etc... but if you're doing "one offs" you will actually be working out of a hole if you try to have any kind of 'standard configuration'.

Best of luck.

ceedub wrote:

For example, what are the best settings for bass guitar,
male vocal, female vocal, guitar, etc?

What is the best flaor for an apple? How about for a peach?

All those settings are player/instrument/amp system/venue dependent. I'd
be inclined to start out unset and then save particular settings after
I'd determined them for a given situation, if I thought they'd again be
applicable.

--
ha

ceedub wrote:

I'm getting the impression this post is really showing my naivete. In any
event, I've gotten a useful sense that there are no easy answers and that
it's always empirical.

Yep, you're on it, Craig. It's a different deal everytime you do it. If
you try to use presets you will wind up changing them so often that
you'd save time starting from scratch for each situation.

Now, if the same people play the same venue using the same on-stage
setup, you might wind up with some useful presets, especially if the
size of the audience remains consistent, they all dress the same for
each show, and the temp and humidity stay the same, too. g

--
ha

Fletcher wrote:

There is no rule that says you have to turn any knobs to have performed
your job... often knowing what knobs not to turn is more important than
touching anything...

Amen, bingo, ka-ching. - .sig material.

--
ha

That's a good use for reheasals. Make use of that time wisely.


--
Best Regards,

Mark A. Weiss, P.E.
www.mwcomms.com
-

"hank alrich" wrote in message
.. .
ceedub wrote:

I'm getting the impression this post is really showing my naivete. In any
event, I've gotten a useful sense that there are no easy answers and that
it's always empirical.

Yep, you're on it, Craig. It's a different deal everytime you do it. If
you try to use presets you will wind up changing them so often that
you'd save time starting from scratch for each situation.

Now, if the same people play the same venue using the same on-stage
setup, you might wind up with some useful presets, especially if the
size of the audience remains consistent, they all dress the same for
each show, and the temp and humidity stay the same, too. g

--
ha

Hank:

Woah... I didn't realize all of those factors. Since I'm in the band and I'm
the unofficial and oft abused "sound guy," most of our instrument
configurations are not going to be changing much. I was thinking that venue
differences could be handled by FOH EQ. But, I take it that this is not
practical, nor particularly "artful."

Thanks much...

Craig

ceedub wrote:

I was thinking that venue
differences could be handled by FOH EQ. But, I take it that this is not
practical, nor particularly "artful."

Venue changes affect what each mic hears. I often start there, working
to get the mic hearing what I want it to hear from the intended source
plus the room and the stage monitors. That way I can clean things up
right where they first enter the system and then use the room EQ more
sparingly and and more particularly to address the FOH system's
interaction with the room. In the long run, all these aspects of control
are interdependent, kind of like neighboring bands on a bad graphic EQ.

--
ha

"hank alrich" wrote in message
...
ceedub wrote:

I was thinking that venue
differences could be handled by FOH EQ. But, I take it that this is not
practical, nor particularly "artful."

Venue changes affect what each mic hears. I often start there, working
to get the mic hearing what I want it to hear from the intended source
plus the room and the stage monitors. That way I can clean things up
right where they first enter the system and then use the room EQ more
sparingly and and more particularly to address the FOH system's
interaction with the room. In the long run, all these aspects of control
are interdependent, kind of like neighboring bands on a bad graphic EQ.

--
ha

Hank:

Yep, you are right about the mic hearing different things depending on the
venue. I guess there are no easy answers.

Thanks again for the insight.

Craig