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Looper's Delight
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> Rick Walker wrote: > SJAACK wrote: > "Also true, but only to a certain part to blame on the artist, simply > because > you as an artist usually do lack detailed info on the > properties of the > room and the pa system. " > > Actually Sjaack, I don't completely agree with you about this one > statement (and with me and you > that means a disagreement on about 1% of all things we have in common > <smile>) Lol Actually, it was Rainer's quote but I follow him here ;) Its good people have different opinions; otherwise we would all have the same opinions and we would all sound the same; that would be a boring world. Btw: I haven't been clear enough in my previous email because I was mainly referring to a non-looping situation. I certainly see your point that a looper has the ability to walk into the room to check the sound by using some test loops but a good FOH sound depends on many things: the number of instruments and artists you have to mix, the type of instruments, few or many mics, technical capabilities and discipline of the artists etc I must admit I have not seen many live looping gigs yet so I can’t really judge about the average sound of loopers. But if I speak for myself, there are a lot of things you can do to avoid problems. Some are “open doors” but often so true. I try to keep my setup as simple as possible and I always test it before I leave my home. You get in the danger zone if you change your setup too frequently or 5 minutes before the gig. > Another thing is that we now live in the age of very > inexpensive digital > parametric EQs that have the ability > to set presets for every room we encounter. How many times do you see FOH racks with 5-10 19” devices such as compressors, feedback destroyers, EQ’s, limiters, crossovers etc? I bet most of the time and especially in low-budget situations because you start with device A, add B, then add C. But today’s technology can help you to keep your setup or PA simple. Examples are devices such as the DBX Driverack series, you get all the PA tools you need to keep you out of trouble. To be honest, I was very skeptic when a sound engineer told me about the Driverack and the built-in real time analyzer but I was quickly convinced after I had seen how quickly and simple this device works and what it does with your sound. And it has user presets to store settings of different venues. Cost: 400-500 and imo that’s a bargain. > Additionally, we are mixing ourselves, live in realtime with > whatever DSP processing we will be using on the individual elements > so this means that we can send the monitors EXACTLY what the final > mix will be and listen ourselves while onstage. I usually split my live mix in two, 1 for the FOH and 1 for my stage monitors. The sound engineer might add some EQ to my signal but that’s about it. > If we are good, we do have to become instrumentalists, arrangers, > composers, producers and sound engineers if we are going to > carry all of this off live. > This fact, however, actually makes me have the opinion that we are > possibly able to > evolve at a potentially much faster rate than musicians who > only play in > band settings. That’s true and that’s why live looping is so difficult and sometimes stressful ;) You sometimes have to think about 1000-things, so that’s another reason why I want to keep my setup as simple as possible. --- Sjaak http://www.livelooping.be/ http://www.overgaauw.be/ http://www.myspace.com/sjaakovergaauw __________________________________ Scarlet schrapt de downloadlimiet! ADSL20 NO LIMIT voor € 19,95. Meer info op www.scarlet.be