which are also all premiums when working with professionals and volunteers alike . So , we love it .
[ WM ] From the photos we can see that your Yamaha acoustic drums are not in a plexiglass cage . How are you handling any bleed through to other mics ?
[ Keith ] Predominantly , we ’ re just using those three blast shields strategically placed in front of the cymbals . These keep anything too offensive out of any vocal mics . Beyond that , I ’ ll then usually stage our acoustic violin , or similar , across the stage where it ’ s not so much an issue . My Dad and I then also engineered some beautifully crafted ( his work ) edge-ofstage mounted plexiglass to keep any other immediate blast off the folks in the orchestra – as well as their mics , and it all seems to be going pretty well .
[ WM ] Tell us about your speaker subs . Are they under the stage or flown above ?
[ Keith ] Those are flown up top over the stage . The subs are actually directly behind the Cross , as you look at any photos of the stage where it can be seen out front . The two arrays then either side of those .
[ WM ] What DB levels are you shooting for during services ?
[ Keith ] I generally like to peak at 85 , average neighborhood of 80-83 . Of course , sometimes we shoot a little over , but in all truth , I ’ m the only one with a dB reader – besides the drummer – that has been really helpful in giving us concrete parameters to run with , especially given the “ open air ” kit . The drummers I have shoot for high 80 ’ s to mid 90 ’ s for a general groove , with allowance in the lower 100 ’ s for large builds and cymbal hits ; this tends to help the rest of the mix translate really well while keeping overall dB ’ s in our target range .
[ WM ] It looks like you have a fully separate team to monitor the live streaming audio needs . Tell us about that ?
94 August 2024 Subscribe for Free ...