![]() Thus it is worth thinking about using actual digital tools and possibilities to refine live sound quality in a similar way. The fine dosed application of a whole arsenal of 'ingredients' leads to the studio sound of world hits, our ears have adapted to. The density, clarity and presence of a voice processed by the optical compressor LA-2A cannot be achieved using standard compressors and EQs.Ī look across the table, to the studio colleagues, shows them extensively using so-called 'outboard-gear' either as external hardware or internal ‚plugins‘. Whoever has tasted such old „sweeties“ will appreciate them also for live reinforcement. Hall, Delay, Chorus, Pitch-Shifter,…) or serial und 4 for serial effects only (compressor or EQemulations of legendary studio hardware, Exciter, De-Esser, Enhancer, …), that can be inserted into input channels, Busse or Matrixes the serial effects additionally to the anyway available gate, compressor, EQ.Īmong the insert effects are a multiband compressor („Combinator“), a psychoacustic processor („Enhancer“), an Exciter (give "sizzling highs" to acoustic guitars, like new strings) and some more.įurthermore we're finding old studio friends, like an emulation of the Teletonix LA-2A compressor (here „Leisure Compressor“), the Fairchild 670 Tube Compressor („Fair Compressor“), the Urei 1176LN (here „Ultimo Compressor), the Pultec MEQ-5 (here „Xtec EQ5“) and more, that have written studio history. When the X32-/M32-digital mixer generation showed up the 8 common effect slots were a real novelty (against the usual 4), 4 suited for parallel (z.B. It was released a little earlier into the market and embodies the philosphy to only integrate all the known components of analog live sound into one housing. The above mentioned digital console Soundcraft Si compact 24 does not have any of these. Multiband compressors (2-5 frequency bands with level dependent reduction or increasing) are a lot easier to find, for example in the BEHRINGER- oder MIDAS-X32-/M32-consoles, but in limited availability. ![]() But why? Each input channel should be equipped with at least 2-3 dynamic EQ bands (editor opinion )). In the digital mixing console price range below 5k€ dynamic EQs (level dependent reduction or increasing at certain frequencies), are actually not to be found. Trying to do this correction with a static EQ, leads, depending on song and level, to constant ‚back and forth cranking’, because the disturbing mid frequencies somewhere around 1kHz and 3kHz, one is reducing for a vocal at loud passages are missing at lower ones, due to the fact they have been statically lowered. What about automatically reducing certain unpleasant frequencies of a voice or an instrument if they are exceeding a given level? If you're getting familiar with live sound and a certain quality standard, you will find that even the best of vocalists change their sound color between quietest and loudest passages so much, that you are constantly EQ compensating.Īnd a lot of our loved and wide spread 12/2 or 10/2 speaker tops, having woofer- to horn- crossover-frequencies between 1kHz and 2kHz also have their share in making this critical frequency range, our ears are very sensitive in, sharp and piercing. With the introduction of digital consoles gates and compressors (serial effects) were integrated into the input channels and parallel effects like Reverb, Ambience, Chorus, Delay in for example 4 global effect units within the same console housing.ģ1-band EQs per output, for adaption of FOH- and monitor speakers to room acoustics came in as deluxe version.īut paired with being programmable all that meant a huge leap forward, all those different components from analog times integrated into one housing!Ī mixing console example, that did all that was and is the Soundcraft Si compact 24. Had not 2 effect paths for Reverb and Delay in old analog times (Aux Send 1 + 2 )) on a live console be called 'advanced'? These outboard effect units in 19“-housing with different height units were stored in a siderack.Īnyone who wanted more, was extending the siderack with compressors and gates for inserting into the analog console.
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