By Mix Sound Reinforcement Editor, Mark Frink:
The Technomad ProRack I carry to every one-off has three must-haveitems: The Midas XL-42 (reviewed March ’02) has the same greatmic pre/EQ as the XL-4 console. TC Electronic’s new Reverb 4000replaces my trusty old M-5000 and weighs less! The last is BSS’FDS-366 OmniDrive Compact Plus, a 3-in/6-out processor, with up to 60parametric EQ filters, and even delay, if needed. This 24-bit/96kHzdigital parametric has a sweet, open sound rivaling the best analogEQs, and works well for many stage duties, beyond its (intended) use asa speaker processor.
My favorite singer insists on using an AKG C-535, which I smooth outvia a dozen of the FDS-366s’ very specific filters. Another set offilters is assigned to tune the sidefills; a little dynamic EQ notchnips the horns’ nastiness on the loudest notes. A second outputroutes directly to the vocal reverb in my rack (bypassing the console)using EQ on that output to tweak the reverb. A third output routed fromthe vocal is returned to the console for use in the band’s mixes.I sometimes send a fourth output of the vocal to a small speaker tofill the downstage-center area where the two sid-fills meet. Somefilters tweak the sound and a bit of delay syncs with the sid-fills tocreate a nice sweet spot. The two remaining channels are used asmonitor mix EQs for two musicians in the band.
The FDS-366’s output EQs can be adjusted from within SMAARTLive, which I use daily to confirm the response of the monitors.Programs can be backed up on a PCMCIA card, but I also store itssettings on my laptop with SoundBench.
Do you have a secret weapon in your live sound setup? Let us know bye-mailing firstname.lastname@example.org.