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  • They did, but to a much lesser extent than I did.
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  • Right. Let's discuss eqing the PA.

    IMG_20200304_203618.jpg

    This is a picture of yesterday's master EQ. It's apparent I have complete disregard for the initial voicing of the system. Am I right in doing so? I don't know.

    There are two schools of thought on...
    Right. Let's discuss eqing the PA.

    IMG_20200304_203618.jpg

    This is a picture of yesterday's master EQ. It's apparent I have complete disregard for the initial voicing of the system. Am I right in doing so? I don't know.

    There are two schools of thought on this: Work with the tone of the PA provided, and let it be reflected in your outcome, or try to make it sound how you like it to sound, risking phase issues, distortion, and of course making it sound worse in the end.

    I'm firmly in the second camp. Because I listen to a lot of music, and I'm a studio guy. So I have a (hopefully) good reference of how it should sound.

    It takes no more that 5 minutes to arrive to the curve you see above. Not really thinking, just referencing my headphones and listening to the same tracks I've been listening to for years.
    If the system is dull, as was definitely the case in the system above, I'll move the eq till it sounds like it should. I don't really care about how many db I boosted. It's a gig, and it's gonna be over soon. Ideally yes, I'd like to have done it "properly", but lacking the time to do so, I do this instead.

    We got compliments from the second most difficult person to compliment on somebody else's sound. The resident sound engineer. :)
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  • IMG_20200302_144506.jpg

    Day off.
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  • It seems i cant post videos yet. Working on it though.

    The show in Luxemburg went surprisingly well. :)

    I'm notorious for hating the imposed dB limits. Paraphrasing the ever-wise Dave Rat, "its like a roller coaster ride, you don't expect it...
    It seems i cant post videos yet. Working on it though.

    The show in Luxemburg went surprisingly well. :)

    I'm notorious for hating the imposed dB limits. Paraphrasing the ever-wise Dave Rat, "its like a roller coaster ride, you don't expect it to go slow, but you do wear a seat belt".
    If its loud for you, wear earplugs. But you cant have that visceral feeling where you feel the music at 100dBa. sorry.
    Also, and that is the most important thing, sound engineers are not automatically loudness junkies (fine, some are). You have to surpass the stage volume, otherwise, nothing is clear, nothing is punchy. Its a phase nightmare. Unless you think that the guitar cab along with the P.A 4 meters in front will sound "cool".

    The industry has, in essence, "forced" bands to move to kemper/axe fx and in-ears. If your stage volume is 100dba, how does turning up the P.A result in 100 dBa still? Planet of Zeus traditionally hover around 98 dBa on stage, hence my 105-107dba pa volume. You're aiming for double the perceived acoustic loudness so, 10dB.

    Rockhall in Luxemburg has a db limit of 100dBa over 15 minutes. Which means that, if the songs and playlist allow for it, you can be at around 98-103 dba and still be well within the average. The band has made tremendous efforts to lower their stage volume (we're still on wedges) and are around 90-94 depending on the venue and distance from FOH. The guitar cabs make the most difference since they are facing in front and have heavy midrange info.

    We managed to do the show at around 98dBA (remember when vocals come in, and if you know your shit, the volume jumps 5 dBA easily) and be psychoacoustically "loud" and punchy. At that moment, I had a revelation. "we can do it", I thought.
    If we lower the stage volume more, switch to in-ears, we could provide the audience with the desired experience.

    Now to scale the mountain that is the damned in-ear experience. More on that in another post.
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