![]() I’m not very fond of amp sims for recording (other than scratch tracks or when DIs are captured, with the intention of reamping), but for live use, I love the idea of the simplicity of having all my tones and effects stored away in one unit I can take around the world, controllable with one footswitch. I haven’t changed it much in several years since it works well and sounds good for my purposes, although I am still contemplating going the Axe FX route at some point. It’s not quite as emotionally dramatic or visually striking as hiring a lighting guy to come out on tour and rent $10k worth of moving fixtures, but for the position we’re in, just a little bit of fog in the air, and I think our show is well worth the effort it takes to set it up and tear it down each night!Īnd there you have it, that’s my rig. Using a MIDI track in Pro Tools, I’ve programmed notes that correspond with each of the different scenes stored in the Elation, so the lights all change/strobe/swell in a way that syncs up with the music. Basically though, the Elation has about 150 user-preset scenes saved, which represent all the different looks that we want to use throughout the course of the set. If you don’t know anything about DMX, I will not explain it all here for you-Google is your friend. The third and final component of my rig is the lighting show, which looks like this:ĭigidesign M-Box 2 Pro > Elation DMX Operator (via MIDI) DMX output > American DJ Par 56 RGB LED cans (x4, daisy-chained via DMX) > Matrix DMX Pro+ dimmer/switch pack (via DMX signal terminates) > power output channels 1 and 2 > 4x 500W halogen lamps Also, sound guys deal with a lot of crap and attitude from musicians as-is, so the more helpful and prepared I am, the better off everyone will be. Includes Unlimited FREE read-only versions. Timing Software 1 x Eagle Eye Pro 3000 Timing Software (download), USB Software License Key. Granted, asking for two DIs should never be a problem in theory, but I would hate to show up to a tiny club somewhere one night and find that they literally don’t have enough DIs in the house. 1 x 300 Feet Cat5e Data Cable Camera Mounting System 1 x 3-Axis Geared Camera Clamp with Line-Scan Multi-Adjustable Tripod Z Head - for attaching to a Vertical Pole, Ladder Rung or Standard Tripod. The stereo DI is basically just a time-saver for the sake of sound guys, since all I need to do is ask for two XLR runs, instead of asking the sound guy to come up with a couple more DI boxes. It’s not something that the average concert-goer would even be consciously aware of, but I think it definitely enhances the vibe and helps to create a stronger emotional response for people who dig the music. On an interface with only two outputs, we’d be forced to run the backing tracks in mono, and I think having the hard-panned L/R backing tracks adds a lot of richness to the live sound. The reason I went for the M-Box 2 Pro (instead of an interface that’s smaller/cheaper), was the Firewire connectivity (faster data transfer rate), and more importantly, four analog outputs. I run a headphone cable out to Ryan on the drums, as opposed to a wireless solution, since the cable is just a whole lot cheaper and there’s less potential for trouble (dropouts, batteries, etc).
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