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'official live sound thread'

Discussion in 'F.O.H.' started by pikachu69, Feb 21, 2012.

  1. Sloan

    Sloan Sounds like shit!

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    The act had a few of those clamps a few shows ago and they were pretty damn handy.
     
  2. fade_2_black

    fade_2_black Member

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    I don't have any LP claws but plenty of people, bands and PA companies over here do. I personally use the K&M 24050, the clamping mechanism is a lot smoother and tighter than the LP which wears out pretty fast. The LPs are good though!

    Edit: One of the great things about the K&M clamps is that they have rubber surrounds and are suitable for clamping on fragile stuff. This photo is a good example - clamping 902 for my second kick mic to the rim of the kick drum. Drummers would kill me if I tried to clamp mics to their rims with LP claws!

    [​IMG]

    Clamps, claws and other bars are the key to a tidy stage. For a tour I've just been doing, I've been using a 22 channel patch with not a single mic stand on stage. It's the best!
     
  3. arvoitus

    arvoitus Member

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    Great website Keirle, nice list of artists you have over there.

    About the K&M 24050, am i right it is originally intended to clamp on mic stands? Can you confirm it works/fits ideally on most kickdrums? I've been looking into those clamps before, but i'm just afraid that i will be limited with placing the mic in positions.

    I'm still looking for a decent clamp for guitar cabinets that will fit easily on small combo's like Fender's/AC30's and on Marshall's and oversized Mesa Cabinets. The Audix Cabgrabber is too expensive.
     
  4. fade_2_black

    fade_2_black Member

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    Thanks bro! I've only just set it up; I'm relocating to London in a couple of months and looking for new clients. Spread the word if you know anyone in Europe looking for a good touring FOH guy!

    The K&M 24050 is pretty good in that is had a flat clamping pad with a trough in it - so can clamp onto both flat surfaces and hardware, etc. I don't think it was designed to clamp onto mic stands though, however they do have a model for this - the 240/1. The 24050 is great for most kick drums, you are a little restricted with angle of the bar though. The bar is also hexagonal which can be troublesome at times.

    As mentioned, I use Z bars for all my guitar stuff. Great for use with head/cab setups but not ideal for combos. Depending on the stage and internal shockmounting of your mic, you can actually get away with using the Z bars on combos with the bar being held underneath the combo.
     
  5. arv_foh

    arv_foh Brian K

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    I've also seen people gaff tape it to the top
     
  6. fade_2_black

    fade_2_black Member

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    Next tour I'm doing is in a couple of weeks mixing FOH for Dying Fetus around Australia. Any of you Aussies planning on heading to any of the shows?
     
  7. arvoitus

    arvoitus Member

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    Alright, thanks to this topic i bought a Shure Beta 91a as a secondary kick mic, a K&M 24050 to get rid of those horrible bass drum stands that always get kicked by the singer and a BSS AR133 DI for the bassguitar.

    The main 31 bands eq also gets upgraded from a Yamaha Q2031b to a BSS FCS960.

    I'm looking forward to use the new stuff on the next live gig.
     
  8. fade_2_black

    fade_2_black Member

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    Awesome man. The old FCS960 is a nice GEQ too!

    Is this for a particular venue or are you a freelancer?
     
  9. Arsonstudios

    Arsonstudios Member

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    does anybody know if it works to mount mics to orange cabs using the K&M 24050?
    i can't use z-bars cause the band has their amps in a rack and not on top of the cabs.
    lp microclaws would work on marshall cabs but not on orange cabs because the cabs are to thick (if that makes any sense)
    i would love to get rid of stands. i just hate them...
    thanks
     
  10. -Noodles-

    -Noodles- 3 Initals Mixer

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    Z-bars are used on the cab. Use them from underneath or tape them to the top of the cab using stage tape.
     
  11. Sloan

    Sloan Sounds like shit!

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  12. arvoitus

    arvoitus Member

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    It's for a local club where i am the default sound engineer, its based on volunteering.

    I would love to go freelance, but i'm a bit scared that i don't have enough experience. I guess i'm just to scared that i end up in a situation where i fuck up something huge.
     
  13. Arsonstudios

    Arsonstudios Member

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    well taping the z-bars to the cab does not work because the microphones i use are to heavy... already tried that but didn't think of putting them underneath the cab might haha. gonna try that.
    the cabgrabber also looks nice! quite expensive tho...
    thanks guys!
     
  14. fade_2_black

    fade_2_black Member

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    I can't help but feel that if your mics are too heavy to use with taped Z bars, they probably wont be too well supported by Cabgrabbers.

    What mics are you using that are too heavy?
     
  15. Arsonstudios

    Arsonstudios Member

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    Audio Technica AE 2500. (the dual-element mic)
    i think it's quite awesome to use on cabs but its a lot heavier than a 57, i5, 609 etc..
    i tried also fixing it with a strap (not sure if thats the right word... those things you use on trucks/cars to secure cargo) it worked on a randall cab but somehow not on orange cabs... i'd love to get rid of stands haha those on the cabs are the last ones except for the backing vocals but i think i wont be able to get rid of those :)
     
  16. arvoitus

    arvoitus Member

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    That's very easy:
    [​IMG]
     
  17. Arsonstudios

    Arsonstudios Member

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    haha yeah def an option ;)
     
  18. fade_2_black

    fade_2_black Member

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    Haha good choice of photo. I mixed Absu a while back and drummer had his headset mic. Sounded pretty nasty, especially when compared to BVs on 945s
     
  19. plisken

    plisken Metal Keyboardist

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    oooo since there are a lot of live sound engineers here, maybe I can get some advice?! would be greatly appreciated!

    So I have been working out getting my band to go through my gear for mixing before it gets sent out to F.O.H. Reason for this is I find most places usually don't do that good of a job. Not necessarily because they are bad, its just there usually isn't enough time to properly do a sound check. So I figured I would try and do the hard parts myself and leave what should be felt to F.O.H to them.

    I guess my first question is what should I do? and what should I leave for F.O.H. My band is a metal band. Female vocalist, keyboardist, 2 guitarists, bassist and drummer. I have everyone but the drummer going through my UA Apollo for mixing. Now I'm pretty familiar with mixing my band in the studio but I know its different for live but I'm not sure in what way...

    Im assuming unlike on a recording, Live I wanna keep the guitarist panned center, not one hard left and the other hard right?

    What I have mostly in processing for each persons input is just EQ's and comperssors. What I am afraid of doing is doing some EQ or compression that might not necessarily work in some venues. How far should I go with these things?

    Simply put, I wanna try and get as much of the mixing done myself, so that I don't have to rely to much on F.O.H.

    Oh I would mention that the guitarist and bassist don't use amps and cabs. 1 guitarist has a Kemper Profiler amp and the other a Line 6 Pod HD 500. Bassist uses a Boss GT-10B. Should I have them come in stereo or mono?

    Thanks in advance guys!
     
  20. arv_foh

    arv_foh Brian K

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    everything should be in mono.. if you do this give the sound guy a separate output for each instrument, so he can, at the very least, control all the levels independently.. there's nothing more frustrating than a band that gives you a single stereo output for a bunch of instruments and the levels are not correct and there is nothing you can do to fix it..
     

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