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Old 16th November 2019
  #14
Lives for gear
 

As many of the readers of these threads are aware I have been deeply involved in the acoustic Americana genre for 50 years. For many reasons maintaining control of sound reinforcement from the stage was preferable to the hit or miss realities of individual channel console manipulation with venue personnel. The primary reason for this is the importance for the performers on stage to be free to shape their own blend and dynamic control. This is particularly true of vocal trios and quartets that rely upon clean monitoring of the house SR in their monitors: be they wedges, or in/over the ear devices. The sound check determines needed individual channel processing adjustments and the stage two mix delivered to venue SR will be appropriately calibrated by venue personnel when fannies are in the seats. 20 years ago we decided to work from seated positions with as many as six performers on stage. This made the use of side addressed tube studio mic placement between the instrument and the performers face possible to capture instrument and vocal simultaneously: this was a huge improvement for my video work. I use KV2 EX10 wedges that are HP trimmed to replace the mids and highs lost in the house SR stack rear bloom. There are no hot back line amps to deal with so we can carefully listen to each other with a stage mix that should be very close to the house sound.

10 years ago we moved away from traditional Bluegrass into a more diversified performance that included selections requiring my CP5 stage piano and kit loops. The move to working solo with pre recorded tracks is a natural progression from my studio and video recording work and was absolutely necessary for collective personnel scheduling reasons. For small venue gigs I provide the SR with a QUsb and an AT4060 tube mic along with either EX10s or an rcf Evox 12 system. When the occasion calls for it I use my Digigrid/Waves LV1 processing for two mix delivery to venue systems as I have previously described.
I maintain complete control of the recorded stems and my mic exactly the same way I did with the band seated next to me. It really is no big deal.
Hugh