Stuff That Doesn't Need Its Own Thread (DMBc Version)

[dmb6743]

Originally Posted by willndmb I found this yesterday on a drive I had it saved too. Can't get it to open as it is a .rar Going to have it see what I need to uncompress it on Mac but recall listening to it before, it was decent quality if I recall

I use the Unarchiver app on Mac for .rar/other strange files and it works perfectly

[willndmb]

Originally Posted by dmb6743 I use the Unarchiver app on Mac for .rar/other strange files and it works perfectly

thanks
that's exactly what I had on my older comp, still works perfect

[soups]

Dave’s beard is robust

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[Define Dancing]

Super random appreciation post for Stefan's bass line in Ants. Discovered this bass cover today, and it reminded me of the many, many reasons why this is my favorite DMB song (and one of my favorite songs of all-time). Fonz's bass work gets lost in a lot of the other glossier elements of the song, like the violin and soprano, but this such an underrated aspect of the song. Can't get this bass line out of my head.

[willndmb]

Originally Posted by Define Dancing Super random appreciation post for Stefan's bass line in Ants. Discovered this bass cover today, and it reminded me of the many, many reasons why this is my favorite DMB song (and one of my favorite songs of all-time). Fonz's bass work gets lost in a lot of the other glossier elements of the song, like the violin and soprano, but this such an underrated aspect of the song. Can't get this bass line out of my head.

cool

I wish I could hear more of Fonz stuff.
He adds a lot of details you can't normally pick up on

[SomeDevil17]

What’s with all the masks on that dudes wall?

[Thor2531]

Originally Posted by SomeDevil17 What’s with all the masks on that dudes wall?

Everyone has a thing. I wait till my wife and kids go to bed then beat off to VR porn on my 10 year olds Oculus Quest. It is what it is.

[SomeDevil17]

[patsfan39]

This is perhaps a dumb question, but something ive always wondered. Why doesnt Dave have an Amp stack on stage? Boyd even used to have one I believe. Does Dave just plug right into the PA? Why didnt boyd because he sometimes used a wah pedal? I have a very minor working knowledge of how guitars and Amps work but ive always wondered this.

[dmb1981]

Originally Posted by Thor2531 Everyone has a thing. I wait till my wife and kids go to bed then beat off to VR porn on my 10 year olds Oculus Quest. It is what it is.

LOL

[dmb1981]

Originally Posted by patsfan39 This is perhaps a dumb question, but something ive always wondered. Why doesnt Dave have an Amp stack on stage? Boyd even used to have one I believe. Does Dave just plug right into the PA? Why didnt boyd because he sometimes used a wah pedal? I have a very minor working knowledge of how guitars and Amps work but ive always wondered this.

I don't think Dave has used a pedal in his life lol

[patsfan39]

right but i didnt say anything about dave using one. I said Boyd used the wah pedal (for everyday).

[dmb1981]

Originally Posted by patsfan39 right but i didnt say anything about dave using one. I said Boyd used the wah pedal (for everyday).

I know, just kidding.

[Jayes]

Originally Posted by patsfan39 This is perhaps a dumb question, but something ive always wondered. Why doesnt Dave have an Amp stack on stage? Boyd even used to have one I believe. Does Dave just plug right into the PA? Why didnt boyd because he sometimes used a wah pedal? I have a very minor working knowledge of how guitars and Amps work but ive always wondered this.

Not a dumb question. There a million different and interesting ways that signal flow is organized in different settings/productions but here’s the skinny:

Dave’s acoustics are on wireless packs that communicate with the receivers and subsequently the snakehead at monitor-world. Isolated/independent signal is then distributed to the monitor console, the front-of-house mix position, and a recording rig (and likely other places, but that’s the basic signal flow): this allows each location to have its own independent control of the same source while not affecting the other positions.

The electric guitars are also on wireless packs whose signal hits the receiver and then gets sent to a custom roadcase in which an amp and the microphones are installed: this creates isolation and allows the amp to live wherever is most convenient backstage. The mic signal from those amps is then sent to the snakehead and distributed.

In the old days, his guitars were connected with an instrument cable to the rack that lived in front of Carter where they hit a DI (Direct Input/Direct Box) went through some processing in the rack, and the output of the rack hit the snakehead and got distributed.

Boyd’s rig likely lived onstage for additional monitoring and proximity to his effects pedals and whatnot, though that is conjecture on my part.

There is a lot more cool signal flow, processing, and configuration that goes into a setup of this kind and I could ramble all day, but does that satisfy the curiosity?

[SomeDevil17]

I won’t give it away came on randomly the other day. Always thought that was a cool little tune. Surprised it was totally forgotten.

[patsfan39]

Originally Posted by Jayes Not a dumb question. There a million different and interesting ways that signal flow is organized in different settings/productions but here’s the skinny: Dave’s acoustics are on wireless packs that communicate with the receivers and subsequently the snakehead at monitor-world. Isolated/independent signal is then distributed to the monitor console, the front-of-house mix position, and a recording rig (and likely other places, but that’s the basic signal flow): this allows each location to have its own independent control of the same source while not affecting the other positions. The electric guitars are also on wireless packs whose signal hits the receiver and then gets sent to a custom roadcase in which an amp and the microphones are installed: this creates isolation and allows the amp to live wherever is most convenient backstage. The mic signal from those amps is then sent to the snakehead and distributed. In the old days, his guitars were connected with an instrument cable to the rack that lived in front of Carter where they hit a DI (Direct Input/Direct Box) went through some processing in the rack, and the output of the rack hit the snakehead and got distributed. Boyd’s rig likely lived onstage for additional monitoring and proximity to his effects pedals and whatnot, though that is conjecture on my part. There is a lot more cool signal flow, processing, and configuration that goes into a setup of this kind and I could ramble all day, but does that satisfy the curiosity?

This is fantastic. Thank you so much! Just to be sure i understand. Dave has a wireless pack on his guitars that connects to two different things: the acoustic is directly to the monitor world/the rack (btw what is that is it essentially a mixing board backstage?) and an amp which is mic'd backstage or something (electric). Is that right? So if you dumb it way down, he basically plugs his acoustic directly into the PA through a series of channels?

I know Dave's mic sometimes has effects going through it (reverb etc.) but for some reason its always been funny to me that he has someone else just handle that. I feel like most musicians are super particular about that. Dave must have a ton of comfort with his 'guys'.

I guess now Im also curious how did you figure this setup out? Is it just a standard setup in the industry? I feel like Craig or even maybe Monk did a video online a few years back showing Dave's rig, but i thought it was mostly just going through his different guitars.

[Jayes]

Originally Posted by patsfan39 This is fantastic. Thank you so much! Just to be sure i understand. Dave has a wireless pack on his guitars that connects to two different things: the acoustic is directly to the monitor world/the rack (btw what is that is it essentially a mixing board backstage?) and an amp which is mic'd backstage or something (electric). Is that right? So if you dumb it way down, he basically plugs his acoustic directly into the PA through a series of channels? I know Dave's mic sometimes has effects going through it (reverb etc.) but for some reason its always been funny to me that he has someone else just handle that. I feel like most musicians are super particular about that. Dave must have a ton of comfort with his 'guys'. I guess now Im also curious how did you figure this setup out? Is it just a standard setup in the industry? I feel like Craig or even maybe Monk did a video online a few years back showing Dave's rig, but i thought it was mostly just going through his different guitars.

There is an awful lot to unpack here and detail that might not be relevant to your interests, so I'll try to make it easy.

Monitor world is essentially where everything audio terminates. It contains any number of different pieces of gear and such, but the basic components are a snakehead (where all of the audio inputs get plugged in and split/distributed) and a mixing console (soundboard) that controls all of the onstage monitor mixes for each musician and distributes to peripheral backstage areas. Ian Kuhn stands at the monitor console (with support staff) and mixes everything that the band hears. Jeff Thomas stands at a different console out in the crowd at front-of-house (FOH) and mixes everything the audience hears. Lawlor (or a technician) stands at a computer (possibly even another console further upstage or offstage) and records the show.

The snakehead (where EVERYTHING audio onstage gets plugged in) is a giant multi-channel "box" that has the ability to send isolated/independent versions of each source channel to multiple locations. Jeff (Bagby) gets his own set of channels that he can control to mix the show out front for the crowd that doesn't affect any other positions, Ian gets his own identical but independent set at monitor world to mix for the band and backstage areas, and Lawlor (or whoever) gets his own independent set to multitrack record the show. As I said, this can be split a number of other times to other places as well. Power distribution for the entire audio side of the production usually lives here as well, although not a rule. The return channels (signals) from FOH likely return to monitor-world and are distributed to the many many other amp racks that drive the main PA speakers/subs.

If you look at Dave's back onstage, you'll notice a wireless pack that is fixed to his guitar strap. The guitar plugs directly into that. Each guitar has its own pack, and therefore, its own dedicated wireless channel. This talks to its corresponding wireless receiver at monitor world. All of the receivers are connected to channels on the snakehead. The outputs of the Electric guitar wireless receivers are sent to the aforementioned amp boxes before the snakehead, and the mics in the isolated amp boxes are then plugged into the appropriate snake channels. So the Electric guitars are sent through an amp backstage first, and the Acoustic guitars are directly input into the snakehead from the wireless receivers. This same concept rings true for the other band members, albeit with different vehicles/processing/gear. At any rate, everything onstage is plugged into the snakehead that then distributes all of the channels to the other positions.

While any number of outboard processing may be used, much of the effects (reverb/delay/chorus/pitch-correction/dynamics/EQ/list goes on and on) can be implemented on the digital soundboards of today (they WERE using Avid Venue Profile Consoles but I'd imagine they've since adopted the S6L). So if you hear reverb on Dave's voice or guitar, for instance, it's most likely being added by Bagby at front-of-house (FOH): many of these “global” effects are left to the discretion of the FOH engineer (vocal verb/delay/processing, blending of various instrument effects, whathaveyou). Same for the other band channels. The band members can also ask for these effects and channels in their in-ear-monitors backstage, where Ian's console (and gains and effects, etc) can be added independently. I (and many others) use the reverb tails and a touch of delay in my IEMs to aid intonation and atmosphere.

While there is some footage out there of DMB's technical rig, there are a multitude of different ways to achieve this very basic explanation of signal-flow, and not only does this band adapt for different kinds of productions, the rest of the industry is also employing this basic structure (with so many variables as noted but not limited to the above).

[hieb]

Originally Posted by Jayes The snakehead (where EVERYTHING audio onstage gets plugged in) is a giant multi-channel "box" that has the ability to send isolated/independent versions of each source channel to multiple locations. Jeff (Bagby) gets his own set of channels that he can control to mix the show out front for the crowd that doesn't affect any other positions, Ian gets his own identical but independent set at monitor world to mix for the band and backstage areas, and Lawlor (or whoever) gets his own independent set to multitrack record the show.

As the FOH mix is done independently of the IEM mix, is it a safe assumption that Boyd, and perhaps other band members, had no idea the violin was being muted / buried in the FOH mix?

[somf4eva]

I was thinking about this while I was on a run today...

Does anyone know which show might have been prevelant in the early days of limewire/kazaa? Before I learned how to B&P, I downloaded a show and it was all I had. It kept me going for a while! The only thing I can remember is the two step..

[Jayes]

Originally Posted by hieb As the FOH mix is done independently of the IEM mix, is it a safe assumption that Boyd, and perhaps other band members, had no idea the violin was being muted / buried in the FOH mix?

Certainly possible, but I personally think a select few were clued in/encouraged it