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Post by wiz on Feb 19, 2017 18:01:06 GMT -6
This is why I prefer to use a 57 for a vocal mic. Always used to happen when I played a Strat. I am always physically scared singing into a SM57... it just feels weird after a lifetime of singing into 58s.... I am so used to the shape of the ball.. the 57 feels like its gonna smash me up... not that I havent left bits of my top front teeth in 57 grills.. I have .... 8( cheers Wiz |
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Post by Bob Olhsson on Feb 19, 2017 18:19:32 GMT -6
Write-ups in Mix always needed to be taken with a block of salt. The wall of sound was long gone by the'90s because they couldn't afford to ship it around and couldn't afford the size of the crew required to support it.
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ericn
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Post by ericn on Feb 19, 2017 18:46:16 GMT -6
Write-ups in Mix always needed to be taken with a block of salt. The wall of sound was long gone by the'90s because they couldn't afford to ship it around and couldn't afford the size of the crew required to support it. Yeah but like I said it was the Ultra Sound guys who told me about the Optogate, they were providing the huge Meyer/ Gamble touring rig for the dead post wall of sound, the 90's Dead monitor rig was huge and they were probably the most experimental tech wise of any touring act. Though I was surprised they never really tried in ears or a talent mixing system ala the Intelix system we built for King Crimson or the custom system Showco built for 90's era Genesis. |
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Post by Bob Olhsson on Feb 19, 2017 19:03:22 GMT -6
When I worked on their New Years broadcasts from Oakland Colosseum in the'90s the vocal miking was conventional and Dan Healy told us it was the same as they had been doing for years after moving beyond the wall of sound. Now maybe they used optical switches on their vocal mikes but it was not the old differential system.
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Post by stratboy on Feb 19, 2017 23:18:25 GMT -6
When I worked on their New Years broadcasts from Oakland Colosseum in the'90s the vocal miking was conventional and Dan Healy told us it was the same as they had been doing for years after moving beyond the wall of sound. Now maybe they used optical switches on their vocal mikes but it was not the old differential system. I got my info from the Dead archives. Quoted a newsletter article from 1974. Click the link I put up. It's fascinating. You can see the progressive thinking, whether it worked economically or not. The link also mentions an article about the system from DB Magazine by Don Davis and Ron Wickersham. That can be found in Americanradioarchives. I'm not a Deadhead, but the engineering is legit, imo. I took Don's seminar. Very cool guy. |
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Post by johneppstein on Feb 19, 2017 23:27:39 GMT -6
No, they're not - they're considerably more fragile than 58s and they're both nothing compared to an EV 664. My guess is that it's a matter of sightlines - he wants to subject as many victims as possible to a view of his magnificent orange dyed combover. It also might have something to do with his paranoia about nonworking mics - maybe it was a 58 that "failed" on him that time? In australia we call it comedy. Now get off my lawn. You'll still have to pay the full rate for mowing. |
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Post by johneppstein on Feb 19, 2017 23:34:14 GMT -6
Write-ups in Mix always needed to be taken with a block of salt. The wall of sound was long gone by the'90s because they couldn't afford to ship it around and couldn't afford the size of the crew required to support it. Heh. They sold the big hemisphere of 12s with the Heil tweeter strings To FM Productions while I was working there around '78. By that time the original wall was long gone. It then became the core of FM's "System 80" (used for Heart) and eventually ended up with the Santana people when they bought the sound department during the breakup of FM and turned it into Performance Audio. |
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Post by donr on Feb 20, 2017 0:13:50 GMT -6
I remember reading about the Greatful Dead pressure pad switches at the mic positions. I thought the purpose was to keep the stage sound from bleeding into the vocal mics when they weren't singing.
BOC's vocal sound is tons better now that we're all on In-ears and our stage volume is about a third of what it was in the day. We still have instrument sound onstage, unlike a lot of contemporary acts and we don't use plexiglas around the drums like Boston does, but now my guitar tone is independent of my stage volume and it's just there to fill for the front rows and to balance the other side of the stage where they still mic amps. Very little bleed into the vocal mic. Also we don't need side fills or wedges to further cloud the FOH mix.
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Post by stratboy on Feb 20, 2017 9:59:07 GMT -6
Man, I've gotten some doozies of shocks in the years before going to wireless guitar. It seemed some kind of ground potential between the PA and the amps was the rule rather than the exception. The first thing I'd do going onstage was touch my guitar strings to the mic and see if there were any sparks. Then I'd bridge the string/mic with my hand before I'd touch my lips to the mic. If you had to put up with potential, a wind screen on a 58 would help, but you'd still feel that electricity trying to get to you through the foam. First gig I ever played, in my high school gym, I stepped up to the mic to sing backup on The Animals' "I'm Cryin'", got a big fat spark right up my front tooth - knocked me for a loop. I saw 10cc open for the Kinks in LA. (Edit: it was at the Shrine Auditorium) First song, the singer steps up to the mic, big flash/crunch, next thing you know, he's flat on his back. Music stops, roadies help him offstage. I don't remember them coming back. The Kinks, btw, were fantastic. |
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Post by Bob Olhsson on Feb 20, 2017 13:35:45 GMT -6
Dan Healy told me that he suspected the Dead were the first to ever use dedicated stage monitors. The band had an unlimited gear budget in the early days thanks to Owsley "Bear" Stanley.
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Post by mulmany on Feb 20, 2017 20:38:17 GMT -6
I understood that they use a specific distance so the sibilance is mitigated by the phase offset. It's the same trick with the double lapel mics. Can you explain more about this ? I'm always interested in reducing sibilance . One trick that I learned was to set two mics up and band pass the second mic, or just eq boost the trouble freq then polarity reverse and mix back in to the main mic. Its the same trick as duplicating your vox then editing the track so its just the "s" and polarity reversing it. Guess I should not believe everything old engineers say! |
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