okay vocal mics are sennheiser 935 and then here's our custom gold diamond 105
mm yeah
under the drums we have a 905 on the bongos 184 hi-hat the snare mics we
talked about the three of them the other they're right here so we have our
Telefunken m80 and then our sennheiser 911 911 for nine for nine one six I
gotta remember Audio Technica eighty-three thousand and eight
overheads AEA ribbons amazing ID I can't say enough great things about him rack
Tom standard 904 901 902 standard fare 421 can't go wrong strings radial d eyes
beautiful thing
electrics that is a 906 bought xi5 those are actually the preamps for all the
string players idle pickups on their guitars and then that di we were talking
about yeah so we have two different D eyes the post di is the sonic farms and
it's amazing I can't say nothing nice things about it yes it's just everything
everything I've ever wanted a bass di and then this is a Neve Rupert Neve
designs and that's the acoustic bass okay yep
your trumpet on a Sennheiser transmitter mm-hmm it's great they love it
935 handhelds for a guest and background vocals mm-hmm this is I got a little bit
crazy out so start here I'm gonna shout out to Scott Ragsdale on this Joe
Bonamassa is for a nice guy tall g12 made in South Africa super cool great
sounding guitar mic original Sennheiser gold 409 you three those are like
unicorns now and an AEA in 22 so this is his electric setup this is acoustic
setup yeah and uh Telefunken m81 for
Jacob's vocal we have a French horn Audio Technica ATM 35 yeah I think
that's what it is another 105 for Brandy's piano vocal and
I was talking about those stompboxes which is a pretty cool effect which are
down here and what these are is these have Sennheiser 901 s underneath them
and they stomp on them during the show as a percussion effect nice yeah here's
here's more shout-out to radio so we have we always really like the sounds of
the j48 just tonality wise of what they did on the acoustics so we have four
channels we have BCA BC B BC CB CD so these are more of the
strum guitars these are more other finger pick guitars we use the radial GX
48 to switch em all right now and then of course
so sure you are for DS for shout-out to Carlson audio for hooking me up with
those yeah he does the switching from here and we used this because this
routes the four inputs to four separate outputs but at the same time we have one
tuner pedal that lives down center so she's always got a tuner that she can
mute and tune with if she needs to well yeah
ready here we go VCAs will start in the center okay I got a drum group
I got a bass group I have my strings my 4p string section all my keyboards
Randy's guitars Tim's guitars an overall vocal and an overall band so I could
pretty much ride between the two if I need to get the vocals up over the van
or I want to let the band be a little more but actually this is besides the
actual string players each individual person so we got Chris fill the strings
Jacob our keyboard player Randy and Tim so that's kind of when we go to my
subgroups which we talked about an interview which I had the compressed
drums and then the drums that aren't compressed the tune of the blend to kind
of do the parallel drum effect bass is all my bass and actually low strings I
should say because what I wound up doing to keep this the same from what I was
running before I put the cellos and the low strings and then the high strings
tend to go to the keyboards because it's a similar tonality the way they play
pads and stuff like that electric guitars vocal compress vocals straight
out and then my acoustic guitar so that's my subgroups matrix is the main
left/right mix the sub bass end for phil or mono send whatever we
decided put in through the matrix i have to delay sense if i would ever need them
for extra outputs for lobby feeds or here in the parent or whatnot and then
that's my record to mix that goes to the to track recording PQ mixes i'm using
them first then I ran out of oxen so I'm using them for reverb feeds and then I
have my smart feet my reference smart to that comes off of that so the full mix
can go to it auxiliary is for some reason I always love the sub bass on the
top box I have an instrument reverb I have a drone reverb harmonizer or like
a local figure a vocal sample played send a standard delay just kind of like
backing loose and I had one effect delay that I used the PCM 42 for inputs pretty
much laid out drums straight across up to bongos stereo channels from overhead
bass channels are here I have a pre bass or sorry post base which is after the
effects buttons there's a pre base before the effects ability I never found
a bass Mike really worked in situation because I just got a lot of stage play
from it and then we have an acoustic bass sometimes that we use which has its
own channel
and all this stuff buses down to those subgroups I showed you here that way
down here I have our piano our Nord never French horn so that's pretty much
Jacob's whole world up there on that browser and then the riser directly
across from him is my strings which are the two cellos Josh Sam and then on
viola we have Kylene and then Lauren on violin and that's the four string groups
back down here to this Evan these are up to here all my guitar so we start with
Brandis two electric channels we have an A and a B originally we had an electric
guitar we have her electric and then we had an acoustic guitar channel which
just became another electric channel which if I want to kind of take it over
the time we have her for acoustic channels which are more or less the
different sort of guitar so we have two Collins is ma with two Gibson's on B and
those are more or less her strong guitars the one she kind of plays really
mom and then C and D arcy is a 1800 Washburn
that she finger picks on and D is a a Palomar tamashii finger picks on same
thing with Tim's electrics I got Tim's main electric guitar and then I have a
second mic on there once again if I weren't really want push it over the top
I can and just put some more and what it is is they're kind of panned left and
right so it's like a faux stereo so if I want to make a big white or sound or so
we have a Tim's acoustic di channel and he also runs his acoustic through an
amplifier to give it some reverb and a little bit of grit so that's that's that
my main vocals are right here and a Phil brandy Tim just as they appear on stage
from here so I can work them the whole time I have a piano vocal which is
Brandy's primary vocal when she plays piano and then I have what I call a
Jacob vocal or one on the opposite end of the riser for the nord head and down
I have my stomp boxes which are two wooden boxes that have tzm's that they
try to get my porch to effective that they stomp on for different points in
the show which is a really cool effect I beat them up with a little bit of sub
and I call them sometimes in some of the songs my wake up cuz I really hit him
hard just as an effect you know to ahrefs to sennheiser 935 s guests
background singers they float around a lot I also have I called the youth mic
but that is our wonderful ear trumpet which we actually put on a wireless
receiver oh wow and it floats around the theater it's
been at front-of-house it's been behind for the house it's been in the balcony
it's been on stage it goes everywhere a couple guest inputs if anybody wants to
sit in that night and you know we have ready to go and I was spare vocal for
Brandon down Center coiled up which anything goes down we can just
immediately get to it there's more there's more and then I have just some
auxilary stuff of course I have i pod playback which is just the laptop I have
audience house mics oh it's XY pair pair of shotguns on stage most of that just
goes to the multitrack and the to track a playback of the to track CDR sorry I'm
old pink noise back on a channel and my talkback line if I need it I do have a
stereo keyboard line because initially when we started tour rehearsals we're
gonna have three stereo keyboards but it got bumped down so I have these two
channels in case we want to add anything these are the alignment channels that I
learned off I want to mr. mr. Roberts ago those webinars about how to fool the
console and to making sure your arrival times are all right when you're doing
the parallel thing I have a Pro Tools channel that's stereo and that's just if
I want to go into my Pro Tools system and solo one of the tracks and here and
back on the console I can do it there and tell me about these alignment
channels well he was saying to trick the consoles to time themselves if you're
doing remember it's a great video if you look on a have it if you're doing a
parallel so two stereo groups and one's full of plugins and one doesn't have any
right it if you assign everything to both groups and the master it tricks the
console the same amount of delay yeah it tricks it so you'd actually don't have
to go and then physically find it and turn it to the right delay
okay yep the TL 55 foot less channel available which is actually like 80
something I think no yeah all stereo returns PCM 42 slapback delay the vocal
plate which is the Demeter spring reverb no sorry that is the PCM 60 the hall is
actually a spring add eMeter three-second spring that kind of
emulating the old Eventide h 3000 micro pitch shift a drum reverb an instrument
reverb a drum room reverb i'm an effect drum which is honestly like a big giant
almost like a tease snare massive Canyon reverb that could she used on one or two
songs an extra iPod channel that doesn't get
used this is a strings reverb which just for the four string players and then I
have a actual plug-in backup of the plate and the home just in case
something happens to the units and then these are just inputs that come off my
rack from when we have support that have their own console we can tie them into
us so they don't run through us