Been using these for around. Year now with a set of ATC SCS70 Pro’s.. crazy amazing.. We run Atmos 9.2.6 and it’s an overwhelmingly stunning place to be. Tried Sonarworks for a few years before switching to a Trinnov MC 24 Dante. Even for stereo, nothing has ever come close to this magic box.. Setup looks good though man, we are based in the Midlands, more out of the way and there’s nothing within a 20+ mile range also. Best wishes mate, great setup. Rick
Hi Joe, great video hope your well mate. I'm not in the touring industry since lockdown, but in my experience of dealing with BBC and outside broadcast as a FOH engineer my main issue is this sort of almost "union" approach of looking after their position mixing the way they always have at the BBC and that keeps them in the job. The worst for me was Jools Holland show when it was in White City. Multiple attempts to make that guy listen to my guidance on the mix and he'd just plain blank me and do what he wanted, not what the bands intended. The other bad one for me was actually in the U.S on the Jimmy Fallon show. Completely union based where they don't let you mix the actual live audience FOH mix and the broadcast mix guy spends most of the time name dropping his L.A mates rather than listening to the mix or advice in a rehearsal. So frustrating. But then you'd get the odd great experience in the UK with programs like Graham Norton where they would really care about your guidance and it would show.
This is the video where he described his (now old/outdated) "Main / LR Bus Processing". EP1 - Main / LR Bus Processing (A Sum Of Two Busses) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nPD0jlnnUfM.html
I heard Drew's mix at Music Midtown 2023. It was perfection. I knew the issues he had with Billie's vocal, and she sounded amazing. As a live engineer since 1977 and touring FOH in the 80's for everyone from The O'Jays to Beatlemania to Guns 'N Roses, it was the best mix I've ever heard, and with all you had to deal with. Kudos Drew. Great interview Joe. Learned a lot.
24:08 As a live sound engineer, the greatest favor you can do yourself is to buy your own console. Even if it's just a used Presonus StudioLive rack, Yamaha TF rack or Behringer x32 rack, the ability to try any idea you come up with at any time of day or night is priceless. Record the live shows you work on to a DAW whenever you can (with permission, of course), so you always have a library of live concerts to rework on your own console at home. You will quickly find yourself moving ahead of other engineers that don't do anything / practice anything until the next time they are standing in front of a venue console.
Workaround if you don't own the console : recreate the workflow of said console in your DAW (using the same kind of EQ, gate, compressors, FX, numbers of busses, etc) and mix in your DAW as if you were mixing the show live. I do that in Reaper to train for gigs on Midas M32R and Presonus StudioLive 16R.
@@djabthrash - Absolutely true. A note of caution to those trying this technique for the first time... be sure to set up the DAW **exactly** like a hardware console... hardware is always going to be more limiting... in a DAW you can do amazing things that even the top end hardware won't do, let alone the lower cost consoles at most venues. Also, the Yamaha, Presonus and Behringer apps will run without the hardware connected, and while they won't let you do stuff that isn't possible once the hardware is attached, you can still create a configuration that is going to be just awful if you load it at a show. Finally, depending on where in the world you are, and what kind of sound work you do, you may find that owning your own console gets you jobs / extra work you might otherwise not get. I've had the awesome opportunity to work with some semi famous Latin pop stars when they played at local venues simply because I own my own console & in-ears hardware, and I'm one of the few sound engineers in my country that really knows how to do proper, separate in-ears mixes for each musician in the group.
I really wish all the young singers that comes to my stage wishing and trying to hard to sound like Billie could understand the level of not only technique and control, but also the sheer amount of technical work involved on the FOH side to make vocals as breathy and quiet as those come alive on stage. Also, that they will have to deal with the heartbreak that it's impossible to sound like this starting to play live. Billie knows how to project very very well and her breath control is beyond belief, but it's not gonna work without the insane compression, EQ, verb work AND the tracks. There are quite a few young singers who need to understand that you cannot simply replicate this live even if you do know how to sing really well.
How do live engineers like Drew protect their hearing in big stadium shows when, like he said, even the crowd is clocked at 118dB. Do they use attenuators or IEMs or something?
@tylerbliss3554 but 118dB does permanent damage in mere minutes afaik, I mean anything above like 102 is gonna do damage in mere minutes is my understanding
Just saw this and the point about the LR buss processing, as opposed to backing up to the source or groups for broadcast, is soo relevant now, especially in the ATMOS broadcast world. Buss processing doesn't do anything in the bed and object world. ie Doesn't do anything with objects tracks and only messes the balance with them when used on the bed buss. Great interview guys. And massive respect to Drew's Billie mixes, which sound amazing.... now I know why. Great attention to every detail. Oh and "Mix like a Brit..." love it.. Always said that the British SE's were doing the biggest cleanest mixes in the live world through the 80's 90's..... Super big and clean.
The only time in all my touring that I got a band to do what a wanted was a top rated cover band….where everything was direct…with in ears… The sound was record quality…
What you wanted? Based on what position...??? The FOH isn't here to tell the band what to do. We're here to support the band in getting *their* sound. If all you wanted during your career was your sound... then you needed to start your band. Plain and simple. I get record quality artists all the time.
Thank you for this! It’s really helpful to get an inside look on professional live sound. As a solo gigging musician, with the occasional band gig, it’s mind blowing to know the precision you guys are performing and the fact that what y’all are doing during the show is a performance in of itself🤯
When you say Billie didn’t like the mix on BBC live lounge, does that include her covers from way back? Like “The end of the world” and “you don’t get me high any more”? Or do you mean the bbc live coverage of festivals?
I feel you, man! I just bought a pair of ATC SCM25A MK 2s... I never ever thought I would spend that kind of money for speakers.... until I heard them. Game over.
Never understood the fascination with ATC. I've been building transmission Line speakers exclusively for over 30 years, but if I had to go back to buying *'Store Bought'* speakers (and I pray that day never comes), ATC wouldn't be on the short list. But thanks for turning me onto *Hayley Williams - Simmer*
One day I'll get to own these. I currently have the Neumann KH310 + KH750 sub combination. Also in your room, do those drum kits rattle when you're mixing?
@@Ein-Stuck Use the MA1 alignment mic and the MA1 software to tune your speakers in your room. Besides acoustics, make sure to use proper placements on speakers which is in the manual. This is a killer combo and it takes time getting used to it but the low end sounds so good. Enjoy.
you should have gone for the 50's, they are better than the 45's, the 50's have a tighter clearer cleaner sound with lower distortion than the 45's. The 50's have all 3 lower distortion super linear drive units, the 45a dont have any super linear drive units.
this pair is 13000 dollars , my dream is still to buy adam a7x pair , sometimes I surprise how rich and blessed some people are and who am I , My dreams are nothing in front of those people.
So dream bigger friend. I started with cheap m-audio speakers. Then it was the yamaha hs80. Now it’s the dynaudio lyd 48. Next is the core59 or these ATCs
As much as I loved my Dynaudio Confidence 5s the day the SCM-150ASL's arrived the bar moved farther ahead. It is unfair to say bad things about Dynaudios but a 3" ATC mid is a perfect lens to witness the music through. Congrats and enjoy
