I like that he says EQing should be the same has in studio and that the FOH eq should compensate for the acoustics of the venue.. I've been applying that for many years :love:

pcrecord, post: 427823, member: 46460 wrote: I like that he says EQing should be the same has in studio and that the FOH eq should compensate for the acoustics of the venue.. I've been applying that for many years :love:

I don't doubt it as you mix similar to me . I've been doing most of all Dave does for years.
In fact, I hardly changed my mixer when touring for 18 years. It was mixed for us, and any changes were only because we couldn't get the FOH quite right without a tweak here or there.
Otherwise., it stayed the way it should. Mixed for the band.
After a few years learning sound, touring, I manged to build a great full 4 way JBL front loaded stereo PA system with graphs and adjustable cross-overs. Its amazing how great you can get a room mixed using excellent FOH hardware.

The reason I posted these video's, even though they are PA related, its all the relevant in the studio to me.

I guy I mentored under, who spent time with Roy Orbison on tour said Roy never touched his mix either. It was all done on the FOH system

I've been saying the same thing for years. Everything up to the output of the board is production, everything after that is reproduction. The main graphic changes a little from room to room. The output of the board should sound good on any good sounding system, and any good sounding source should sound good through my system.

The big difference for me is that I was doing smaller venues where stage volume had an effect on the mix. For a while I was doing just one band, so all the channel settings stayed the same, but I put all the loud stuff (amps, drums) on a bus. In smaller venues the "loud stuff" bus stayed off, in bigger venues it went up as needed.