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DI: Pre or Post

#141
I've got the perfect remedy for soundmen who don't want to run me a mic...I bought a Heil PR 40, so when I show up at a gig where they want to DI me, I'll say, "Gee whiz, I just brought this $350 mic from home because I thought you guys would love to hear how good it sounds on a bass cab." I defy any soundman with a heart to deny me :bawl:
 
#142
JimmyM said:
I've got the perfect remedy for soundmen who don't want to run me a mic...I bought a Heil PR 40, so when I show up at a gig where they want to DI me, I'll say, "Gee whiz, I just brought this $350 mic from home because I thought you guys would love to hear how good it sounds on a bass cab." I defy any soundman with a heart to deny me :bawl:
Click to expand...

How are you liking that thing?
 
#149
So the PR 40... :bassist::bassist::bassist::bassist::bassist:

I give it 5 rock stars as a bass cab mic. This thing sounds like my cab, only in recorded form! I've only tried it on one cab so far, but even though I really still like a 58 or 57, this puppy really grabs the tone of the whole cab pretty accurately, much more so than the 58. I just did another Tube Challenge that I'll be posting here shortly if you want to hear samples. After I do that, I'm going to try it with guitar and voice.

I do love getting new toys, but I sure hate paying for them. I never used to be a tone freak until I came to Talkbass...you people ruined me! I think I'm done for now, though. I can't think of anything else I need or want. Really. Seriously.
 
#151
well, I use the D.I. on my M-pulse to FOH so it would be post!
but I do use certain effects that alter my sound too much (heavy fuzz and what not) in the effects loop and blend them in with my clean sound.
O I figure its the best of both worlds, the soundmen are pretty happy with the sound since it isnt too bleepish and all with the effects, and I still manage to convince myself that all the splurging on equipment was worthwhile!:D
I am planning on getting a mic though for the dirty sound eventualy and then sending the rest clean and PRE
 
#154
There have been a lot of posts in this thread about using a wireless (or other method) to go out to the mixing board from the stage and adjust based on how your bass sounds from there.

Now this is all well and good, but as a proponent of "Pre-EQ/Let the sound guy do his job" don't you think this has the potential to drive sound crews out of their minds? I recognize your interest in putting on the best quality production, but at a point it just becomes a micro-management thing.

Imagine if every single member of your band had to go out to the mixing desk to hear how they sounded...can you think of a more tedious and potentially offending situation for a live sound engineer to have to put up with? Not to mention that everything changes in a venue from soundcheck time to when the house fills up with people.

Yes, some sound engineers can be doofuses. Yes, I once saw a guy bury his face in an Asian Chicken salad he had propped up on the faders. But for the most part, I think we need to give these guys more credit for knowing their big PA rigs (and their venues!) the same we know our comparably tiny little 4x10s.

Lonnybass
 
#155
Lonnybass said:
Now this is all well and good, but as a proponent of "Pre-EQ/Let the sound guy do his job" don't you think this has the potential to drive sound crews out of their minds? I recognize your interest in putting on the best quality production, but at a point it just becomes a micro-management thing.
Click to expand...
I think that's a fair comment and something to go by for the most part. I have a bit of a unique situation from most, though. I'm doing a lot of doo wop and early 60's tunes, which are mixed from a different perspective from the heavy kick-snare-bass that we're all used to. I'm also working a lot with Bowzer, who hates to hear anything from anyone else but him, and especially a lot of bottom from the house reflecting back, and he makes my life miserable because he thinks I'm turning up. So having a very short time in which to get things together, we will tend to micromanage a soundman who never worked with us just to let him know what we're looking for because it's so foreign to most of them.

I also don't like hearing anything past 6k on the bass, and soundmen tend to run DI's flat, so I micromanage that when I can, too. I like them having access to it when they need it, but if they don't, I'd prefer they yank it.
 
#156
Lonnybass said:
Imagine if every single member of your band had to go out to the mixing desk to hear how they sounded...can you think of a more tedious and potentially offending situation for a live sound engineer to have to put up with? Not to mention that everything changes in a venue from soundcheck time to when the house fills up with people.
Click to expand...

+10000000000
 
#157
JimmyM said:
I'm doing a lot of doo wop and early 60's tunes, which are mixed from a different perspective from the heavy kick-snare-bass that we're all used to. I'm also working a lot with Bowzer, who hates to hear anything from anyone else but him, and especially a lot of bottom from the house reflecting back, and he makes my life miserable because he thinks I'm turning up. So having a very short time in which to get things together, we will tend to micromanage a soundman who never worked with us just to let him know what we're looking for because it's so foreign to most of them.
Click to expand...

Hey JimmyM , maybe somtimes the soundmen DO know about your type of music.

My philosophy toward this is;
in a situation where I bring my soundman , I can tell him whatever I want , he's part of the family, no problem there. If he's pissed at us because we tell him what to do ( we never do ) , he's not gonna be back the next gig.
but in a case where he's not paid by us , that means he's paid by the same people who hired us , So..... if the sound is ****** , it's the producer's ( the guy who pays for the show) fault , not the band's.
The guy who pays probably knows that already.




PS :Except in a case where it's a first timer for everybody.... ;)



Again that is IME & IMHO etc etc etc......
 
#158
a Pre eq di kills the amp. it turns a nice svt head and an 8x10 into an expensive monitor. When i'm playing live i mike my cab and turn every thing to zero and i ask the sound man what he wants in terms of highs, mids, and lows. and tweaks it from his end.
 
#159
I used to be a huge supporter of the post-DI camp because I wanted 'my' sound to come out of the house... then I read about how bass really does work differently out front than it does on stage, so I got a REDDI. Haven't had a complaint from sound guys ever since, and both parties are happy.
 

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