Flight mode electricity 24 hours


All up, I have 12 input channels running through two groups plus effects returns. It’s all manageable enough to be run from a Digico SD11, but due to availability we’re running an SD5. I’m not complaining, it’s nice to spread out and get comfortable. I’m running a desk snapshot for every song. And doing a fair bit of processing, especially on the guest vocals. [Read about Fraser’s plug-in-heavy vocal chain later.] HEAVY PROCESSING

Fraser Walker: I’m not getting stems or individual backing tracks from stage — it’s a highly produced and radio-ready stereo mix which the guys perform over and the guest artists play and sing over. It means I need to carve out a space for everything that comes after the DJ tracks, to fit them in and to sound correct. For example, the vocals: you can’t squash everything together at the end because the tracks are already heavily processed.

When I explain it, it all sounds a bit overly-tweaky. electricity and magnetism online games I mean, if I was mixing 40 channels of live band, I wouldn’t even come close to doing all this sidechain and mid-side compression, because you wouldn’t need to. You’d control the individual elements of the mix. If you’ve got a guitar in a band then you can do what you need to do to ensure it fits into a small pocket in the mix. But a guitar already mixed in a two-track production is largely beyond your control.

Depending on who’s playing and how percussive the playing is, you obviously need to have low latency. As you lower the latency settings you’re geometrically increasing the processing required. It’s a compromise. I’ll work on a happy medium with the player, such that they’re playing with the highest latency they can put up with — it’s not bothering them but we’re keeping the processing power lower.

Fraser Walker describes production rehearsals as a great opportunity to get way beyond the meat ’n’ spuds of balancing levels and to dive into the one percenters. electricity cost las vegas If there is one device that best sums up Fraser’s fairy dust approach to applying the extra-extra layer of piano gloss lacquer to the Flight Facilities mix, it’s his hardware Kush Audio Clariphonic Parallel Equalizer.

Fraser: The Clariphonic EQ is my secret sauce for electronic-style music. I run it over the master bus. The front panel doesn’t have frequencies marked on it — the guy who makes them doesn’t like getting hung up on frequencies, he’d rather you use your ears. But there’s detail in the manual. gas 91 My ‘Focus’ control is set at about 1.4kHz. That’s addressing that ‘top of the snare’ openness. The ‘Clarity’ knob is set to around 32kHz. It’s a little like the silky ‘air’ band you’ll find on a Neve device or the Maag EQ4. I go analogue from the console (via an instance of Waves’ PuigChild compressor, which is just ticking over and an instance of Waves’ L1 limiter) into the Clariphonic, then analogue into the Lake processor and then AES out of the Lake or analogue depending on the venue. Sometimes I’ll tweak the Clariphonic mid-show when we have a full house and high humidity, just to restore some of that ‘air’ in the mix the bodies are soaking up.

Anto: In the US we toured with ‘Texas headphones’ — huge side fills. On this tour we’ve decided to go for the d&b E8s on stands which has really helped with getting the most out of the vocalists. Some of the vocals are quieter, and Hugo will want them in his wedge and sometimes it’ll be a struggle for FOH to get the volume up in different venues. So having the E8 speakers right next to Hugo’s head is a good thing for keeping the volume down on stage. We have a sub on stage as well, which is especially good for Jimmy when he’s playing an MS20 or System-1 bass line — he can feel it as well as hear it in his ears.

Fraser Walker: We came from production rehearsals straight into three shows in the Enmore Theatre in Sydney. I knew the FOH position was going to be tucked up under the balcony, which is less than ideal. So I brought the baby Genelecs on board as my meterbridge monitors. I time aligned the Genelecs to the main PA. gas and supply locations It meant I could turn them on during the show and they’d give me back some of the highs I was missing under the balcony. They’re a nice sounding monitor. I actually matched the phase response to the mains as well. I’ve been using Waves InPhase as an all-pass filter and lining up the two sources, making the Genelecs a pure extension of the PA.

Andy: This is a custom-made USB loom with strain relief. gas density and molar mass It has power for the MicroKorg, power and signal for the MPC, and power and signal for the button box that launches the Ableton instrument scenes. It has a loop where you can hang it and everything is just the right length. It goes back to the computer where you have everything at just the right cable length for swapping it out.

Fraser: Because Jimmy is doing huge filter sweeps from 20Hz to 18kHz I’m trying to keep a lid on it when it gets wild. I have a C6 multiband compressor on there and it’ll dig in harder as it rises. When you hit 18kHz you don’t want very much in the PA. At the other end, when the MS20 is in the sub range using the make up gain of the low band to give it a kick.

Andy: Hugo and Jimmy love to DJ. The CDJ decks are a natural extension of who they are, so it makes sense for them to be part of their live stage setup. They’re very stable. We take an S/PDIF digital output from the decks straight into the stage box (via a Neutrik impedance box that allows it to run as AES3). electricity production by state The output sound quality is good and works for us.

Hugo is using booth monitors and headphones, for when he’s cueing tracks. Jimmy, on the other hand, is on in-ear monitors the whole time. But Jimmy deejays as well — using the Pioneer CDJ decks to mix between backing tracks. When he’s doing that, he wants to cue those tracks in his ears and not hear his regular mix. For example, when he’s cueing, he doesn’t want to hear the vocalist, Hugo’s samples, or anything but what he’s cueing.

In rehearsal he wanted me to learn his routine and to flip his entire monitor mix when he went from playing to cueing. It became clear really quickly that it was an unworkable approach. It meant he had no flexibility with his transitions. We thought about putting him on two packs or unplugging from his pack into a mixer… but none of it was a good solution because sometimes he’s got a guitar around his neck. electricity billy elliot backing track Then I remembered the Digico has a GPI/O input to use as a trigger. So I connected a footswitch to the board via its quarter-inch GPI/O. We went to Billy Hydes and programmed a little macro that allows Jimmy to switch between two aux mixes on the console — live ears mix, and a cue mix. It’s an elegant solution.

I have an instance of the F6 dynamic EQ across the CDJ stereo playback channel. The F6 is side-chained to the vocal group and it’s also set to ‘mid-side’. I’ve got the sidechain frequency band in the mid, and I’m leaving the sides unaffected. The result is I’m carving out a middle pocket while leaving the HF on the sides alone. It’s the only way I can make this show work. It sounds natural yet at times I’m pulling almost 9dB out of the HF in that pocket. It doesn’t sound like it because you’ve still got that frequency content left untouched in the sides — psycho-acoustically it doesn’t sound carved but you’ve created this pocket for the vocals right there in the centre.

On all the vocals I have the Primary Source Expander (PSE), which gives me the extra gain I need. Especially when I’m in a venue with wide-spaced infills rather than front fills. I’m trying to hit the centre of the crowd barrier but at the same time I’ll have a quiet vocalist who will occasionally be in that hot zone — so I’ve got to be careful about feedback.

Then I have another F6 on the vocal. You can see the settings for one of our vocalists, Brooke. I’ve set a few bands that’ll dynamically grab some notes depending on where she goes in her range. static electricity online games For Brooke it’s compressing some higher, more nasal notes. I can set the threshold and then when the compressor starts to dig a little bit, it smoothes the overall sound.