Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Does anyone have the inside scoop on how the sound guys handle all the mics for major artists like Paco, Vincete, etc??
They rarely if ever feed back, and the stage is set - literally and metaphorically - for a feedback night mare with all the consender mics and volume.
Does anyone know what EQ settings and/or compressors, etc are used? I know Vicente often uses an AKG 535, and Paco's rider is available on line, detailing the mics they use.
I'd love to play with only mics, and not have to drill my nice guitar(s) and put in pickups that sound fake and quack-y, but it's almost impossible. Even at nice venues (locally, that's be Yoshi's, or festivals for me like San Jose Jazz fest), the sound guys are very reluctant to throw up a bunch of condensers because of feedback concerns, mics picking up sound from the monitors, etc etc
Any help would be appreciated. I fear that it's all about stage size; the major artists play on stages so big that there are literally about 5 - 8 feet of space from performer to performer, and most stages I deal with are too small, which means too many mics are too close to one another
Posts: 176
Joined: May 11 2012
From: Edmonton, Canada
RE: EQ settings for live performance... (in reply to turnermoran)
Monitor positioning and the pattern of the microphone makes a big difference. Where I've had the best monitoring for live sound was with a supercardioid microphone with the monitors about 30 degrees to the side and a few feet away from the microphone. But, monitor positioning is easier to manage when you have a larger stage.
In-ear monitors are a good investment and easier to deal with. A drummer friend of mine has been using them for 10+ years and has convinced me to get a pair. You have control over your own volume and there is no feedback. It's hardly any extra setup. You just switch the cable from the monitor speaker to your in-ear monitor pack and you're good to go.
RE: EQ settings for live performance... (in reply to turnermoran)
Generally, you're not going to want a condenser in a live setting. The SM57 is great! It's nice workhorse. I don't really use any parametric EQ for flamenco. I compress a little. VERY LITTLE. Maybe with a ratio of no more than 1:2.5. Worry about the threshold depending on the gain.
I do however use some graphic EQing. But that's only to eliminate feedback. Just create some feedback and cut out a frequency band where feedback is happening.
RE: EQ settings for live performance... (in reply to That_Guy)
we use 3 x nuemann km 184...condensors...and use the same in my brazjaz group...same set up for our womad gig to smaller venues or clip ons in tight spaces and larger groups again it depends on the natural dynamics of the group and keeping it 'acoustic' on stage...ie not pumping the volume through the monitors...projecting clarity not volume also depending how many monitoring sends are available flat EQ with a small amount of compression side fill monitors or placed behind...
RE: EQ settings for live performance... (in reply to Guest)
quote:
ORIGINAL: AlVal
we use 3 x nuemann km 184...condensors...and use the same in my brazjaz group
huh... And you get no feedback? How much gain are you getting? I wish I could use some condensers. My monitors feedback easy. I really need to swap them for some new ones. Frankly, it's just easier to slap a 57 where ya want it to go and the audience wouldn't really notice the difference in sound quality... Unless it was an audience of engineers
RE: EQ settings for live performance... (in reply to That_Guy)
hi alot of gain before feedback no noticeable difference to a dynamic mic (in terms of gain}to my ears though the sound quality is drastically different...as i have used dynamics in the past. the condensors open up a different world of dynamics...no pun intended... again i think it is a matter of volume being sent, the amount of sends available and the sound engineer... also How you play dynamically on the instrument has alot to do with it... here is a clip of the 3 guitars with the nuemanns...just shot through a cheap hand held camera... we have side fill with guitars only[not visible] as well as monitors face us [ with vocal, cajon and palmas in front of guitars ] and a send of just the guitars in front of the palmas and cajon/vocal...again not LOUD but enough to project and fill the 'monitored' space...otherwise it all becomes muddy and without definition... we are pretty happy with this sound,,,no feedback or gain issues... though the space maybe wider than described in the original post by tunermoran..
RE: EQ settings for live performance... (in reply to That_Guy)
quote:
My monitors feedback easy. I really need to swap them for some new ones. Frankly, it's just easier to slap a 57 where ya want it to go and the audience wouldn't really notice the difference in sound quality... Unless it was an audience of engineers
If nobody notices the difference, then why dont they just use 57's on Paco's tour?
RE: EQ settings for live performance... (in reply to ToddK)
quote:
ORIGINAL: ToddK
quote:
My monitors feedback easy. I really need to swap them for some new ones. Frankly, it's just easier to slap a 57 where ya want it to go and the audience wouldn't really notice the difference in sound quality... Unless it was an audience of engineers
If nobody notices the difference, then why dont they just use 57's on Paco's tour?
I think you mean well, but .... i disagree.
They use it simply because they can. If someone compares a 57 to a neumann one after the other (A/B test), the difference will be noticeable, even to the common listener. I'm unable to use a condenser on MY stage because I'm using low budget gear. I'm finding myself cutting out too many frequencies before I get sufficient gain. Paco de Lucia probably uses top of the line monitors, main speakers, feedback suppression/eq's, compressors, preamps, so the sound guy is able to get good use out of condensers. Now, I probably should have said "If you can, use a condenser, otherwise go with a 57." We don't know the gear turnermoran is using. So I'll restate.
To turnermoran - If you are able to use a condenser, by all means, DO IT! If you have too much feedback, a 57 is the way to go.
Sorry for the long time to reply ToddK ! I was in the middle of a move and I just got some internet!
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread