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Why is this merge block here?


jackwagner
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A little more background on the desired result for this preset...

 

Output 1A is panned left and the LEFT XLR output is intended to go to my on-stage bass amplifier.

Output 1B in panned right and the RIGHT XLR output is intended to go to FOH.

 

I laid out each path such that, theoretically, I can change the FOH eq, volume, etc. without affecting my on-stage monitor. We'll see if it works this weeked when I take the Helix to it's first gig.

 

Thanks,

 

--jack

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As @Joepeggio says, to be able to remerge path 1B with 1A.

 

You do not want change the FOH eq, volume etc. That is a disaster waiting to happen.

 

Thanks for the replies, that makes sense.

 

Why would I not want to change FOH eq, volume, etc.? I would only do it during sound check, not during the set. With my normal non-Helix bass rig, I have had FOH ask me to alter my eq so it works for them. But that resulted in a tone that I didn't like for my stage sound. This way I can send them something that works for them and still have what I want on stage. Hopefully nothing too dissimilar.

 

--jack

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Thanks for the replies, that makes sense.

 

Why would I not want to change FOH eq, volume, etc.? I would only do it during sound check, not during the set. With my normal non-Helix bass rig, I have had FOH ask me to alter my eq so it works for them. But that resulted in a tone that I didn't like for my stage sound. This way I can send them something that works for them and still have what I want on stage. Hopefully nothing too dissimilar.

 

--jack

 

Wow...that's a lot of trust being placed in the hands of the current generations of sound people from what I've seen.

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What would you do differently??

 

--jack

 

Here's where the disconnect happens typically because many musicians have little understanding about FOH and room EQ.

 

Literally there's very little reason for FOH to be messing with a single instrument EQ if what you're sending FOH is a direct line consisting of the tone you're happy with and has worked well with the band during rehearsal.  Typically you hear the argument that he needs to EQ it for the room, but if that's true the same acoustic applies to every instrument and voice going through the FOH,  not just your instrument.  Why would he be adjusting your EQ when he has the ability to adjust the global output via a single graphic EQ.  That's where things SHOULD be adjusted for the room, not channel by channel.

 

There's no doubt the FOH sound man needs to adjust signal levels coming into the board (called gain staging) in order to get the right blend of instruments and voices.  And there is a case to be often made for adjusting mic'd amplifiers and voices because the mic has an effect on the tone and all voices are different.  But if you're sending the board a direct signal that you have EQ's appropriately to mix with the band, he has no reason to touch it.  In fact, if he's smart he'll use that as the one constant coming into the board that sounds the way it's designed to sound and he should be adjustomg things to match it.

 

Of course that all depends on how well you've done your job of EQ'ing the signal to match and blend correctly with the rest of the band.  If you put together your tone just for yourself and not considering how it matches with the rest of the band, then the soundman will have to make the adjustments.

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