videoeditor1 Posted April 27, 2004 Share Posted April 27, 2004 For all the "live" guys... My latest run (S. Korea) is a relatively new [blue Note] club (4 wks old). Pat Martino preceded us. What a great musician! I had to check out his show twice, the 2nd night bringing the whole band with me. The guy has been working for over 30 yrs, and has bookings up to & thru next May. (We are not affiliated, I'm just impressed). It's designed with a similar theme as those other BN clubs, except this club in on the 2nd floor, where most others I've been in are in the basement. L'Acoustics FOH rig, BSS processor FOH Yamaha PM1D console. The stage is about 34ft x 20ft, 22" high. Venue seats about 180~200, ceilings are double or triple floor high (25-40feet or more). PA (mains & subs) is flown above the stage. Usual compliment of mic's - AT4050's, SM98's, SM B52, 57's, AKG 414(?), Beta 87's etc... All (well most) of the processing is done onboard - all comps/gates, most eq's (graphic or parametric), most of the delays - I added my TC Electronics D-TWO because of speedability . Of course, there's a catch. When I got their equipment list, I saw the PM1D, and said..."whoa!", and assumed everything else was on point. A few days before getting here, with my usual paranoid style, I am double checking with one of their tech guys... No monitor console! The monitor mixes are done off the House console. The show is somewhat dynamic. Lots of effects and fades ESPECIALLY in monitors. A few elec guitar>acoustic guitar swaps... The console has enough aux mixes, but how am I going to do - stereo keys mix 3 background vocal mixes guitar mix bass mix down stage vocal mix drum mix (preferably stereo) vocal in ear mix (stereo) and drum headphone mix in addition to 5 effects sends (4 stereo +1 mono returns), plus Monitors reverb return to the ears mix, and preferably a second monitors reverb return shared between backgrounds and acoustic guitar ? (acoustic guitar is taken direct). Well, let's introduce kink #2. There is only amplification for 8 monitor wedges...and the wedges are 12" + horn. No drum monitor. So I lose the bass wedge (everybody has a mic except keyboards, but tonight I give him one so he can talk to me via a cue wedge...) The PM1D is a great console. I've heard a few "big" guys rave about it, and how great it is to have if you have a touring rig. I've only used it once before back in ...2002? for 30 minutes. I agree with them. BUT, it was not the ideal console for what I'll be doing this week. If the SONY R100 had 16 auxes (or even 12 - it has 8), it would be a better equipped console for this type of environment. So far, I have not found a way to GLOBALLY send signal from every channel to aux 3 (example). Also, on the PM1D, I am hoping that there are ways of cleaning up the display menus. Way too much information sometimes. That aside (and the rest of stuff I'll find and bitch about later), the 1st show got off to a weak rumbly start. Too much to do, not enough independent buttons on the console. By the 3rd song I had the beast (both the show & console) somewhat tamed and manageable. The 2nd show was even better. The venue had no CD-R available, so I recorded on the laptop using Goldwave. Surprisingly, both recordings (ignorging previously mentioned rocky start) came out very well. My tech bloopers were few and not as serious as I envisoned. This reinforces what I believe. Once you get in the saddle come show time, RIDE! It's probably a lot better for the audience than it is for you, and probably a lot better than you think. 'Drew out. btw, it's been raining for 2 days, temps in the 40's-50's.... Link to comment Share on other sites More sharing options...
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