PlanetZ forums - scopeusers.com

I am having a blast acting like an FOH / Monitor guy, seeings how I got rid of the derelict we used for the last 6 months of rehearsals.

He was always late, wanted gas money, mooched my smokes, and made the fatal mistake of asking me if he could bang my X-wife ?? What a loser.

Naturally he sucked at our first gig as he couldn't keep up with the cues. I advised him to use sub mixes on drums, vocals, keys, etc. Basic mixing 101. He was stupid and stubborn, so after our first gig, he got the boot.

I prefer automation over ill prepared overpaid " soundmen".

At any rate I know basics fairly well and have some unorthodox ideas that work in Scope, but what I have found is that no matter what your previous mix was left at, the vocals, and drums are never constant. Some drummer might play harder when he's pissed off, or sick, etc. Vocalists always tell me they can't hear themselves as well as the prior night, etc.,etc.

I need to keep levels under control live w/o changing the faders, as I believe once levels are set, you should use them as a reference only. I prefer raising the gain of an EQ, or something. Otherwise I will be fader chasing all night. Should I use a limiter, or a compressor for keeping the mains under control ?

I will have MIDI CC's running off of a fader box or KS88 to control the device I decide on using.

I tend to think a quality channel strip would be a useful tool also.

I Summon My Brotha's 4 Advice.

I have several tools to use, and am just a sorry ass keyboard player who wants to become a higher paid sorry ass keyboard player.

We have been booked in my favorite " City By The Bay ", where this music got it's start. Looks like the ball's in my court, and I need a big score guys.

I have to be prepared and ready as the 3 jobs are the 9th 10th, and the 23rd.

I will make more in those 3 nights than I could make playing 5 nights a week for a month in some suck ass lounge. So my 6 months of little income, and expenses travelling, seemed to have paid off.


And Most Of All, The Tips I have Learned Here, And Have Used 4 3 Years Now,


Thank You My Brotha's.

Brotha' Man Stardust !!!

Thanks for the total explanation, this place is so invaluable.


I have been going for 17 hours w/ new toys, and experimenting w/ the new memory addressing trick fro XP / Giga. The only reason I was going to upgrade was to load more content. I now know I can load some seriouis VST FX w/ Giga 4 after NAMM. Warp69 has something for all of us I am sure. His VST reverb looks pretty sweet. He's definately got to be the reverb God. I can now get the synth Astro was talking about also. I will have some serious power w/ the upgrade.

I bought Celmo's mixer, and his Vintage reverb / delay, and have just finished making a project w/ Wolf's incredible mixer. It's an amazing mixer for my samples, the difference in fidelity I hear from that and the STM1632, is stunning. My Lexicons just wrap right around my libraries like a warm coat and scarf. So fuckin' beautiful.

Your tips will be used in my next session. I must eat and sleep and...........



Thanks so much, as I feel like I am on a big winning team, so much support, tips and tricks, and tools to perform. I love programming and creating, reading manuals, and stopping in here for even more knowledge. If I wasn't so hungry I would just keep going.


Life Is Good.

More like PlanetZ..............and it's reputation of hihgly knowledgeable members who always help.

Thanks Again,

I just woke up again to take mein schatzie to the airport. Then back to Scope till I drop !!

I think you want peaklimiters on all groups plus one on master 2-buss set so they shaveoff only bad peaks.

For vocals I think you may want to have an AGC / leveller inserted before any additional sweetening/processing. Or a very slow-riding compressor. (there's something like that in Cub/Nuendo dynamics)

There's also something called 'deep compression' - bassically it's a comp setup so it has very low treshold (-30dB f.e.) and very low ratio (1.1:1 f.e.). It just brings out some body and doesn't squish ...

In theory that's exactly what it does.

On a channel or in mix, there's always more to it - attack-release thing, slow release in some cases sounds very fine.

Sometimes it's good, sometimes it sucks. Sometimes it sounds like an enhancer but it's not, just plain old compressor. Ymmv.


If paralleled, can sound too rude and impolite very quickly.

You guys just keep on workin' with it.

I learn very quickly at this place.

I am running really old 8 track tapes like Black Sabbath Paranoid, Grand Funk Railroad, and Jimi Hendrix Cry Of Love through a mixer and trying the 3 different DAS compressors out to see how they do.

Real tracks I make will be much better quality and easier to mix with. But for now I should be able to see some results don't you think ?

If not I can pump my Otari stuff into Scope and check it out.

The Otari stuff has some really nice vocals using the Crane Song and Heil PR40, and sampled horn sections, the basic Joplin demo of Try we will be sending out as a demo to an agent in Malibu Canyon. At least that's where his P.O. Box is. He probably gas a trailer in Anaheim, or Garden Grove.