What do The Rolling Stones, Prince, Van Halen, and Jeff Beck Have In Common?

Dave welcome thank you it's great to be here I've been trying to get you in here you have been here before but I'm sorry I I I put you off for five or six years I I I have no excuse sorry guilty is charged Dave is a um front of house mixer for the Rolling Stones talk about all the people you've worked with it's goes on and on I've been doing this for about 45 years now Bad Company Van Halen prince who Tina Turner Joe Cocker Uh The Black Crows the stones everybody a lot of

the Super Bowl how many times you done the Super Bowl halftime show five or six Dave will be doing the Super Bowl the biggest sound thing ever and then he'll he'll text me pictures from there and said Dave are aren't you nervous yeah I am is there any more pressure than that than the Super Bowl no because it's live live right and you don't want to screw up I mean I'm doing obvious I'm doing the Sound for in the stadium but it would be apparent that there was an audio problem in the stadium on the

broadcast there's another guy doing the broadcast mix so yeah you don't want to mess up yeah it's hot dollar advertising time as you know you know just it's easier to not screw up I've stood with you at the at the console a number of times Jeff Beck was here in 20 uh 22 in October I came to the sound check [Music] He asked you how you like the guitar sound he did what am I supposed to say like I got freaked out when I when I went up on stage and and I said does Jeff

come back out no he doesn't usually come back out and oh hey Jeff and then all of a sudden he walked back out yep and then he's like how's my guitar sound it sounded great and then he sat then he started playing I'm standing a few feet away and I was freaked out oh he was a great guy he was a really great guy Loved him you mix on an analog console yes and you've always done that correct even for the stones you got the stones are playing where mercedesbenz tomorrow night that's correct and you're

mixing an analog console what kind of console is it it's a Yamaha pm4000 I think it's The Cutting Edge of 1988 okay and why do you do that there's a couple reasons because first of all first and foremost it doesn't matter what kind of console you have if it Doesn't work it doesn't matter right so the analog console works for me it's 100% of the time I just probably screwed myself if an analog console goes down it's probably two things it's a power supply Y which I have a spare actually three spares okay or it's

a module so you unscrew the module take it out throw it in the trash and put another one in which I'm carrying 52 spare modules because I have a spare console I mean borrowing it Getting folded in half by a fork lift when it's coming off the truck or speared that's about the worst thing that can happen to it and they're easy fix problems don't need more stress typically how far away are you from the stage 150 or Outdoors 50 m would be 165 ft that's I I would think like a safe average on the

SES the way that the stage is set up and the long runway in the center the lighting in the audio are Off to either side of that it's about 170 ft from The downstage Edge to where I'm at okay when you saw me with the black crows was at the amphitheater which is a fixed mix position you know the A spot where they that was kind of a weird spot there all of the uh those Amphitheater type buildings are all different there's there's no standard then when you play indoors in an arena you can it's

obviously the floor is much smaller you can't be 170 ft away or You'd be in the seats in the back so it's wherever it happens to work out when you're Outdoors versus indoors how does Reverb work typically against you against you right yeah so and they're two different completely different things yeah it's the ambience of the room which can be anywhere from no milliseconds to seven eight or days you as it would seem so tomorrow night though at mercedesbenz will the Dome be closed Well this all depends on the weather okay once they open it

they like to keep it open does the band like to have it open they would prefer that it's open okay I I would say that because it looks cool right well it does look cool but all all bands all bands know about audio they all every one of them they all know yep and they know that it sounds better when the roof is open because now you're not in a contained I figured this out the other day an arena Or stadium is about 800 by 900 so that's 70 720,000 square ft 200 ft tall is

what a milon 14 4 million cubic feet I'm going to take I'm going to take your word for that like it's a lot okay and it's not these places are designed for football they're not designed for concerts right so you have to deal with it when the roof is open there's somewhere for the sound to go it's not contained and trapped and bouncing around off the Nonacoustic interior the steel the fiberglass roof whatever the um whatever it happens to be made out of usually when I go to a concert people will sit me at the

soundboard cuz they're bands I know no offense to any of the bands that I concerts I've been to but when I see the guys EQ for the system they're using these digital eqs these digital consoles and it's completely messed up their their EQ to try and correct for the room it will only sound as good as the room Allows it to sound yeah no matter what it doesn't matter especially with uh with Reverb what are you going to do to get rid of Reverb if I could do something that gets rid of Reverb you and

I wouldn't be sitting here we'd be on my private island somewhere you know sipping something yeah it's only going to sound as good as the venue allows it to sound when you get to a venue you know all these venues that you're playing with the stones you've played Them a million times roughly yeah is there one place that really sounds great that pops to to the top of your mind the Rose Bowl Rose Bowl interesting why because it's an old stadium uh most stadiums now doesn't have a low isn't it lower correct yeah most stadiums

now have a roof so you can a fixed roof that does not open yep a moving roof that does open yep no roof but with overhangs that sort of protect the audience from rain or sun yes very bad yep Or nothing and the Rose Bowl is an old stadium yep and it has nothing it's about 70 or 80 ft tall I think yes and there is no obstructions no anything the best place to play is a flat field a concert like a festival in a flat field because there's no um room sound at all at

all you can I could actually if I used effects would use a Reverb Outdoors but I don't you've toured with all these different groups you've eqed Alex Van Halen snare drum You've had Eddie Van Halen's guitar amp coming through the speakers things like that what what things come to mind Jeff Beck you worked with for how many years at least 10 at least 10 I think it's longer but every night is different with these with these groups every night's different because you're in a different venue every night this is why I like live sound I

used to think I wanted to be a studio guy but then I saw how small a control room was and then how much Smaller it would be if you were there with somebody that you didn't let's just say didn't see eye to eye with yeah live you're in a different venue every night even if you're in the same venue two nights in a row the temperature and the humidity are different and that affects the sound the people that are sit wait wait wait stop in what way humidity is water in the air uh more water

in the air less high frequency is going to be transmitted through it's going to be Harder to get the high frequency through temperature-wise I'm I'm not exactly sure what the scientific reason is but it is my experience that the colder it is the tinnier things sound it just sounds fatter when it's warmer uncomfortable situation you can be in phys pH Al high humidity and high heat is generally what I think is the best sounding so that's the minor payoff for sitting there you know sweating on naturally I'd like to take a second to Talk to

you about this channel Believe It or Not 57% of the people that watch your regularly are not subscribed so I would encourage you to hit the Subscribe button now this will help me get even more of my dream guests in the future thank you the snake that runs from where you are at the console to the stage is there a massive junction box on stage that everything plugs into or are there multiple ones there are sub snakes yep which are small uh in Our case they're 14 channels that we scatter around the stage one by

the keys one by the drums one behind the guitar setup one here one there and they all come over to in most cases at stage left that's where the monitors are set up and that's where the splitter is the stuff that I'm using now is 40 the cables are 40 pairs 40 audio channels in one snake so we're more than 40 generally we're more than 40 nowadays people have big setups so we have two snakes Okay in the Old days it was just a passive splitter uh one input hardwired to three different outputs one output

to the front of house one output to the monitors and one output to a recording truck if or when we needed to now people use multiple monitor mixtures like say if there was a main Principle as opposed to a band somebody would do the main principle and somebody would do the monitors for the band so now you have two monitor consoles in a front of house Console okay well you still might record so now you need a fourth output when you start splitting stuff like that passively you lose gain because you're loading everything down so

we have Transformer isolated Splitters now that are Jensen Transformers so there are three there's three isolated outputs and one straight output so I take the straight output the monitor guys take two of the isolated outputs and then the last isolated output would be if Somebody wants to record when the stones are have their sound check are those guys using monitors or they they use in ears Mick uses it in your monitors okay and does Keith use wedges and Ronnie and those guys or or no it's a a mix okay some people are using ears and

some people are using um wedges right okay so because the stage is so big if one guy needs wedges if anyone needs wedges because the stage is so big you need wedges to cover everywhere on stage in Cas anybody goes there so we have 120 wedges so a large amount okay so if you have ears and wedges you have to have two separate consoles to run those two things no one guy one guy's doing both those yes because they use different mix outputs got it the problem with that is EQ and a kick drum to

come through little tiny speakers in your ears or eqing it to come through a like a 12-in speaker on a wedge is is different so what we have done for a lot of bands Is if there is ears and wedges certain inputs like the kick the snare the bass guitar the lead vocal you just malt it into two channels you have a wedge Channel and into your channel yeah and you get around it that way when guitar switches are happening are those things going to different channels or they're going through the same amplifiers same amplifiers

same amplifiers same amplifiers same two channels on my console okay you have this down to a Science though because you guys are rehearsing before the tour comes out every band that I worked for for the last 20 or 25 years you do a certain amount of time in a space that's big enough to set the stage up like massive place 60x 40 okay and then a little space off to either side so you're not wall to wall then you put the monitor console in one of the spaces on the side and so 60 x40 is

what should be like 80 by 60 I guess and you set up because you Have to Tech everything you want to make all the Looms and stuff like that so everybody does these rehearsals so when you go out in the road and you go to the first venue you are pretty much 95 you've run the show multiple times over the course of a couple weeks probably correct hardware-wise you're ready it's exactly what it was you know the week or the day before when you were at rehearsals okay so when we started one of the boom

mics moved around here and And you said oh you don't want obviously don't want that happening on a show you don't want one of the overhead mics on the drums to fall over anything like that and I asked you is that your job do you go and check those things I go and I look at stuff there's a guy that mics the stage yep and when you're at rehearsals for six weeks we move Mike's around you know okay this is good this is let's Okay and then he remembers Where that is and these guys it's

actually it's they're pretty damn close every day okay every day when they set the stuff up I mean I used to have a guy that would like take me here's a funny story I had a guy that did the stage that was so conscientious after dinner one night I walk up on stage and I'm walking around looking at stuff like huh snare drum mic's a little little close to the snare drum so I I move it back a little bit And I I'm listening to it and I thought that doesn't sound right I went back

up and it was moved back the guy had seen that it was moved about an inch and moved and oh no that's not where it goes he moved it back and locked it down so that was just an extreme case that guy was very very good will you go and just check things so we just if you're walking on stage we check the mics you go and you look and see where the mic is like You know for example you can't see through a grill cloth very well yeah so you get a flashlight a really

bright flashlight stick it on the grill and you can see where the cone is where the center of the cone is because you don't want the mic on the center yeah nothing's moving there it's just a dust cap and you don't want it on the wood generally so you you just make sure that the mics are in the correct place I mean drums it's easy to see you just Look at it yeah that's in the right spot but you have to you know look through the grill cloth when I came to see that you mix

The Black Crows um the stage volume of like Rich's amp was very loud where we were standing he had I think two ac30s ac30 50 watt Blues breaker combo probably yeah and then a couple of 2x 12s and then we were 150 ft away from this thing and they were loud back there in in an in an Amphitheater who's the loudest player that you ever miked up Who's had the loudest stage volume of anyone je beams were pretty pretty loud but he turns them around so they're facing up stage that's right although that that night

he had a jcm800 and he a blues breaker I think it was right or it's really like a JMP yeah combo he had two combos next to each other and then he had two half stacks MH an 800 and a JMP Half Stack facing backwards and they were all four miked up but I want to say that you were using one of the front mic And it sounded phenomenal Jeff Jeff was the kind of guy that would come out and just turn knobs yeah it was never exactly the same way every day every time so

because of that different amps would sound a different way every day now did anyone sound bad not not with him playing it then no but it was different it was different degrees of of good so that night it could have been the ones facing forward the ones facing backwards Were were loud like unbelievably loud like to get sustained anywhere so I would use those a lot of times so I remember the sound check and Jeff played each song all the way through including an ending did he always do that yep it was just like a

performance yep that's just the way he did it will the stones at soundrack play all the way through a song or no yep all the way to the end why why wouldn't you does everyone do that pretty much I would say so yeah Unless you're working out a specific part that caus you a the night before or if there was a specific reason for that if somebody in the band said hey I'm not quite sure we maybe we should listen to how this goes you know that would be the only reason you would do that

just to save time but playing it through is is how it's going to be played for the show I don't know why it wouldn't duplicate but it's it's interesting you think that like okay you play a verse or something Okay that sounds good yeah these guys are pros and they love to play and they do performances that's that's what I took from that I got to tell you this right now is I know I'm lucky I have never worked for a bad band ever in 45 years do you know how crazy that is the odds

of that so I know I'm lucky I I never take that for granted everybody that I've worked for has been a total Pro and I have liked everybody That I've worked for you know except one maybe but I know that I'm lucky tell me bass drum mics that you like to use what what's buyer m88 buyer m88 that's the only one I've ever used how close do you usually put it it all depends on how the drums set up if the holes off to the side in the center where do you like the hole to

be off to the side off to the side okay he has a little too much attack dead center if you want the attack and the holes off To the side you can angle the mic toward the center of the drum but with an 88 what is it about the mic that you like it just sounds good it it does the the problem is the 88 gets beat up uh by the concussion so I take about 10 or 12 out to rehearsals okay and I go through them with the drum Tech and the monitor guy and

I'll sit I sit on the front of the drum Riser and I don't listen to them I let the monitor guy and the drum Tech decide the drum Tech's listening to the monitors he knows what his guy wants to hear so he knows from a relative uh Viewpoint of what we're going for and the monitor guy has the difficult job of making it sound like that so it's you know that's way harder than I I can do whatever I want to the EQ and it's not going to affect anybody except the audience so I just

switch back and forth between all these mics click and I hold it in the correct position boom they hit it once yeah That's good okay there's a possible click oh that's really good put that there no not good over here and then we Whittle it down to about three of them a main which uh they the two of them agree which one sounds the best the next one that sounds the best is the spare and and they're labeled like this they are labeled like that and then there's a third one just in case just in

case so then I set I ship the other ones back I don't keep all 12 if something goes Wrong let's say that a a lug comes loose on a bass drum and you're in in the middle of the sh can you tell that immediately if something happens a snare if a snare head breaks or the snares the string breaks and the snares drop off of it yeah yeah we can hear that yeah but the here's the other thing but the texts are on this stuff right that's what I was just going to say is a

lot of people tell me I get a really good drum sound okay you get a great drum sound well Thank you very much however I work with like the greatest drum text on the face of the Earth yeah it you're not going to have a great drum sound if the drums sound bad that's right Guns and Roses uh drum Tech was unbelievable the guy that we have on the stones unbelievable the guy that was on The Black Crows these guys are all top-notch so if the drums don't sound good to begin with there's nothing you're

going to do with EQ that's going to make the drums sound Good as you know I can but because of your Affliction with drums your drums sound great what is your snare setup 57 top and bottom or just top I don't use a bottom mic but monitor guys like the bottom mic or some performers want to hear the sizzle so I put the bottom mic up I just don't plug it into the console or turn it on so old school it is old school a mutual friend of ours a drummer mhm love the fact that

I didn't use a bottom mic But uh yeah it's uh 57 everything that I use on stage is all uh I make a joke sometimes I you know I have damn near $2,000 worth of mics on that stage which you know is ridiculous cuzz some guys have mics that cost $2,500 or more well I use 57s and 58s 57s on all the guitars 58s on the vocals yep 421s on the toms yep it's all all standard stuff it's all old guy standard stuff old guy what do you use for the overheads now I'm using Austrian

audio OC c18s I believe they're called they make two there's an oc8 818 and an 18 the 818 has too many knobs wait minut is is this are these small diaphragm condensers no these are large big ones I think this was like the 4 can't remember the 414 sty I used to use 414s but the new 414s aren't what the old ones used to be no and the guys from Austrian audio work for AKG they were AKG that's right but you can't tell if the 414 has been dropped when you find a real one an

E or an EB or just the 414 you know is it been beat up they're getting harder and harder to find people who are hoarding them yes and because I don't keep stuff uh together from tour to tour if I force like say say Claire to buy buy me a pair of 414s they will I'll use them for the tour then they'll get put back in the inventory G on you know so I if I out somebody else will have them then I won't have them so do you ever bring your own stuff no okay

57s on the Guitar amps what about the base re20 big diaphragm but I don't use a lot of the Mone microphone if the guy has a lot of effects there's a prdi and a post di okay the microphone is there you know it it you can use it for things but I find because of the gigantic spaces I'm in yeah you need as much definitions as humanly possible if you want to stand a chance of the guy that's sitting you know in the next zip code to hear the stuff clearly it's there it's like sort

Of a uh like a spare a drop dead spare I just lost all the dis about the mic you have to EQ it I'd EQ it severely if I had to use it but at least you have something so your drums are incredibly Punchy what do you do do you use any compression any Gates anything no nothing I mean I KN I knew the answer to this I just asked it just so people can hear it no I don't use anything because when you insert something now there's another point of failure possible point Of failure

if the return on the the insert fails that's it your channel goes down yep and I don't want anything interrupting in the show because it's not a good scene that's number one number two I'm I'm kind of lazy number three number three is nobody is there because I'm mixing the show they don't get to shits who I am they don't care who I am and I like it that way they can't to see the band on the stage so I try and present the band like The band only really loud I I don't fool around

with their sound right it's the band loud that's it yeah good night and I leave okay no compressors no no Gates nothing I Won't Say Never I'll use a manly electrooptical okay on a vocal y because you know vocalists they get excited they you know give it a little extra sometimes this goes to the way I mix loudest thing on the planet has got to be the vocal at all times when a vocal when a vocal is going on you Better be able to hear it not all Bo perfectly every word cuz when people are

driving around in their cars and a song comes on the radio they're singing along with the song yeah they want to hear that vocal so to get it up you know loud you know compress it a little bit that's the only thing I would ever use Dave is the show a performance for you as well what I'm doing yeah no it's A it's a it's a gig present the band to the people that have bought the tickets because we all work for the people that paid the money to come to the show the band works

for them I work for the band so everybody works for the people that have paid the money this brings me to another point that I get a little bit assed up about sound guys first of all I think sound guys are neurotic at best myself included that's why I think that but you get guys that Like here's a perfect example I don't subwoofers or sublow nowadays everybody uses sublow when I started you better explain this sublow all right it's a cabinet that has pretty much like 18inch speakers in it for the low frequency because speakers

now I know I don't understand this but speakers now are designed with uh 12-in speakers I won't say it's lowend they're 12-in speakers but they do mid-range then a compression driver and A tweeter okay well that's cool well now there's nothing below you know X because it's a 12in speaker oh we have to have low so now they build a separate cabinet with an 18-in speaker for the low range when I started there was it was a three-way PA low all of them yep mids and highs and it was all contained in one cabinet Clare

brothers made a cabinet called the S4 which is a 4T Square cabinet that had everything in One box 21 18s 410 two horn and two tweeters mhm and before that we used uh component Pas we had 18in RCA bins for the lows 2 by 12 mid-range cabinets separate horn separate sweeters and when would that have been what give me a time FR 70 you know from the beginning of time until 75 or 82 was the last time I used the four-way okay so what would be the listening experience back then versus now I remember concerts

back then I don't like thinking about that and and Uh it was a completely different experience going to concerts back then we used to go to concerts that's the operative word yeah when you go to a concert like when the symphony's playing you go in you sit in a chair you watch the symphony and you listen to the symphony that's a concert it's a musical performance that's all it is yeah now we do shows show are different well now you have scenery and you have gags and uh fireworks and all Kinds of other stuff in

my opinion the more stuff you have the less musical content there is that's just my opinion but because a great perform Jeff Beck what do you see on stage a drum Riser that's it how was the playing right do you need anything else no also though guys that would come to see Jeff Beck came to see and hear Jeff Beck they didn't give they wouldn't give two shits of about whether the lights were green or yellow or red the lights I want as as Bright as possible so I can see what he's playing I think

what Jeff said one time that what what you like for lighting so I don't know blue for the slow ones and red for the fast ones something like that I don't want video I don't want people watching television I want them looking at me concerts in the 70s M and I referred to them as concerts because that's what I think of them and now I I actually use the term shows and and we were talking about that earlier Before we started I never even thought of that because I refer to things that I saw in

the past as concerts that's what you did so before people watched on their phones and and were filming the whole time I mean I I never understood that experience you go to the show and then you look at your phone yeah you yeah and you film in your phone I like looking at the stage where one in equals one in you know man shown actual size why would you want to look at the other Thing I don't understand is why would you want to record a show because you know it's the picture is going to

be doing this number one and the sound is going to be [ __ ] because the mic is about a 16th of an inch in diameter right and you're never going to go back and listen again well I wouldn't The Beatles stopped playing back in 1966 because they couldn't hear themselves and the audience couldn't hear them either right okay what were the PA Systems back then ' 66 it would have been public address systems which is you know that's what PA stands for PA system public address but it's public address like at the fairgrounds you

know or in the gymnasium right they just be like a column with some a column or worse you know like a round uh Atlas sound o or horn or something right but there was just it was no call for it the big bands the big bands need PA systems no no so Big band era up until what year do you think well probably in the 50s and 60s okay a country band they they probably played concerts grand old opery stuff like that yeah but they weren't screaming loud they didn't have big giant amplifiers and the

people were not screaming you know again they were watching a musical performance so you would just need to amplify a vocal so you could hear that now you start doing popular bands in any venue and you get People screaming you have to yeah you have to compete with that but you're not you're never going to win I mean even now people people screaming is about I don't know what 3K 4K something like that yeah okay so you get 60,000 people screaming at 4K and you can't hear the guitars well you're not going to get anything

over that you're not you know right hey you can only do so much You guys want to hear what's going on on stage shut up okay so when did when did uh sound systems get to where they could compete with the audience not till the 80s or so you think no before that okay before that I I'm not sure what they used at wood I mean I I remember concerts in the in the 70s first times I went in the in the middle 70s and it sounded that you could here perfectly then it was in

the 70s would have been big stacks of components yeah like RCA bins was RCA bin was also called like a w box it was speakers I guess that came out of a sound for movies that would be behind the picture sheet but back then when people designed PA systems they did it by physics the the right way mhm so a w box had two 18inch speakers in it facing backwards and it was called a w box because if you look down at it the way the baffles went inside it was a giant W but it

was an efficient Cabinet so because the cabinet was designed correctly you could blow a match out at front a house with about 10 watts into the low frequency is just very efficient when when it came to front loaded stuff it's less efficient you need more of it you make bigger piles of it and you need more amplifiers but that was that was the difference between like an original PA system not an original PA the like the first the early Rock Pas they were Horn loed they were all horn loaded and that's the right way to

do it it's more components they're big it's heavy but it's efficient so everybody wants a smaller look they don't want to be looking they used to make a joke about the S4 cabinets we used to use 72 of them indoors which was great because that's 144 18in speakers so you know that was a nice kick drum sound but all you would see when you look at the stage is speakers they used to call it the Black cloud right then line arrays were developed line arrays are just a different way of of of doing the sound

and that you see it every everyone everyone has line arrays every PA you see now has a line array PA the one thing I will say that's good about the line array is you can stand in front of it with a microphone like bands that I work for have long runways 100 ft long so you're standing 100 ft in front of the PA system and it doesn't Feed back correct yeah and that's great because again I have no say over we're going to have a Runway oh no you can't do that because it'll feed back

you know they'll listen to that for about two micros seconds and then when people are running out on a Runway okay and they are if they don't have in ears in yep how do they stay in sync with what's going on because the the wedges are out there the wedges are in real time okay got it They have to be screaming loud because now and the wedges are lining the the yep but the wedges have to get over now you're in front of the PA system which is loud enough to be heard back there yeah

and you have a wedge with a 12-in speaker and a horn trying to get over that big PA yeah most I'm going to say most bands use in ears because it's more consistent no matter where you go on stage your mix goes with you yes you know you don't walk in and out of the Pth pattern of the of the speakers and it's allows performers more freedom to go wherever they want is it more fun probably I would say no I I wouldn't dig listen into little because the bands are disconnected from things little bit

right the audience you put audience mics up but it's not it's not I don't think it's the same do you put audience mics up if you're okay for the monitor mixer to bleed audience into the inar mixes so it sounds normal to the performer more Normal more normal yeah but it never sounds really normal it's not the yeah it's not the same as you know listening with your ears it's like a microphone you does any microphones sound as good as your ears no they all sound good different but they're never as good as your ears

okay getting back to to you when you're getting ready to go out do you test all your 57s do you hammer a nail in with it and if it if it makes the if the nail goes in I know just Knowing that I can is enough but what I do is uh check the phase of all the microphones and all the dis always because if you look inside for whatever reason the microphones pin one two and three the wire there's never a color coded wire ever right why I don't know but it's never it's less

money to not maybe yeah here there's some water on the floor let's use that well I know I understand that is fine but when somebody changes a connector out or they Resorted the XLR they put a new capsule on the microphone you know was it the brown one or was it the let put it on because it'll work because it's a balanced it's a balanced setup but it could be out of phase it could be reversed you know it's pushing the opposite way so I check I have the guys check every microphone and every di

before you go out on tour before we go before we go to rehearsals that that eliminates that Possibility does everything get set up every night again everything gets set up mic stands everything the guitar amps are miked in the same spot are there pieces of tape where the microphone goes typically I I wouldn't everything's placed by eye by ear yes well I walk around with a flashlight and I look yep okay that's on the you literally check everything every night no you know no because the guys are that good the guys that are Working I

I insist on well you can insist I insist that everybody that works with me knows what they're doing that's you know the least you could do if if you have somebody that needs to be taught say you have 10 guys and one of them needs to be taught okay well now you have nine guys because this guy needs to be taught well somebody needs to teach him now you have eight guys you know what I mean okay so I so I want I want this many guys that know What they're doing immediately so consequently when

we go into a gig nobody has to say anything to anybody these guys are all adults and they know exactly what it is they're supposed to do and they just go and do it nobody's you know go here and do go and do this they know this and they just do it when you're doing stadiums M how many trucks are there that go out with with you guys PA it all depends how much stuff there on this tour that you're on If you had to guess 15 maybe I don't know there's the production manager is

probably laughing at me right now I don't I'm not sure I know we have you know I don't even know how many trucks of sound we have one to I would say we have at least three trucks of sound okay maybe four but I think it's three and how long does it take to set everything up if you have good guys that know what they're doing yep it takes um 18 hour day to set it all up When we play in a stadium that has a roof and the roof is closed you can mic stuff

up and you can leave it there because it's not going to get rained on yeah but we take the mics away anyway because sometimes things like to walk away you know the stands and the cables and everything stay in position but the microphones go away okay okay if you're outdoors and you set up the day before you got to take it away cuz it might rain you don't want your stuff get Wet so yeah we set it up basically every time we use it every time we use it so we set it up now on

the stones what we do on the first day on the load in day is they fly the PA they fly the delay speakers set up the monitor console set up the front of house console and ah then they'll go through they'll run pink noise through the speakers turn the amps on check all the channels make sure everything's working And that's it you're done turn everything off cover it up come back the next day show day everything is already in and you've checked it already you know it's working if you're Outdoors you always lower the PA

down to the floor in case a storm comes in at night and there's high winds you don't want that big Dynamic load blowing around that's not a good thing you say actually lower them down with the cables and Stuff right we use the the chain Motors that they're running off of you lower it down to the ground and it actually touches the ground okay when you're in enclosed a dome leave it up in the air because nothing's going to happen so if you have to take everything up and reel it it that adds another 45

minutes on to the you know the things that they have to do on the show day but then then we bike the stage up on the show day don't mik it up the day before because the Backline guys don't set the back line up so there's no need to mic anything I'm not going to do anything with it so why waste the time so on a show day if you're indoors you just go in you mic the stage you do a line check then you do a sound check if you're Outdoors the sound crew has

to raise everything up level it all and that's a main cluster on the left and the right a side cluster on the left and the right and four delay Towers so that takes a little bit of Time because it's weight it's in the air it's hanging over people's heads you know you don't want to screw up with that because it's would be not good okay so I saw Metallica play last year up in um I guess what used to be the metal lands I don't know what it's called now metti metti that's right so and

they kept moving around the stage they kept appearing in different places but they didn't have any wedges they were all using in ears I think that that that Kirk and and U James are using axxes now so all the stuff is coming through there you mean like an amp in a box yeah yeah yeah yeah so um like a fractal fractal that's what it is it's a fractor yeah so so if everyone's on ears that you can just appear anywhere on the stage but the drums still have to be miked yep correct that's correct so

no matter where the drum kit appears when it's moving around cuz they were doing that cuz at a stadium you know you the drum Kit move around drum kit moved around different places was the same drum kit I don't know if it was cuz they raised the stuff up I was sitting on this light Tower area they had special seat and um I was sitting up there and but I still couldn't tell how they were appearing because the lights go down and they kind of appear in another spot they're like way over there or they're

way over here then they're close you know and something like that would everything be Miked up separately then if they are are just raising up a separate they're doing multiple drum kits in different locations absolutely you have to do that you either have to do that or you have to have one drum kit that's miked up with a really long sub trunk cable okay I mean that's definitely possible I've done that before where the drum kit came all the way down the runway 100 ft in front of the stage okay while they were playing okay

and so What does that do how does it not feed back oh because it's because of the line arrays right or is it kind of a pain I am the no it's it was okay I mean it was the first time that I uh ever did anything like that so I was too dumb to know what might happen so it it just it it just you know hey it's working great well yeah I mean if you're too dumb to know right it's good to be I agree 100% it's it's worked for me yeah the other

alternative is you have four Drum kits and they just raise up and down and appear at different spots but that's you know four times whatever four times the amount of stuff to go wrong it's it's it's I don't know how the show was designed I've never seen the show I know now when I worked at Radio City Music Hall I mixed the Christmas show there you know I don't I i' had been on the road probably 35 or 40 years at that time but I sat there the first time I mixed that with my mouth

hanging open That was some of the coolest stuff have ever seen in my life In Radio City Music Hall there's a pit down stage of the stage and that's where the band is okay and that's an that's on an elevator everything in Radio City is on an elevator and there three stage elevators downstage midstage and upstage elevators and these are 80 ft wide but you know these are Big elevators so I'm sitting mixing the show and the band raises up from Down Below on the pit elevator I'm Like H that's cool then they play the

like an opening Fan Fair or something and then they disappear they well no they go back down to pit level okay they they used to bring them up to stage level you know it's like oh wow feature then they be done with the Fanfare they'd lower him down to to pit level so I'm mixing the show I'm mixing the show and then you know I'm not paying attention the band Drops back down to the basement well I don't see this and then I see the band appear upstage and they're they've been playing the whole time

I'm like how how did they get up there how do they do this and you're still mixing the same same sound uninterrupted audio so the band would sit on this thing called the band car which which would could drive up and down stage okay it would drive up and down stage in tracks Had an electric motor and the whole band you know would move so what they would do is they would lower low the pit elevator down to the basement then lower the downstage elevator then the band car would drive upstage onto the downstage elevator

and then it would come back up on stage and be going I can swear the band used to be down there but the thing and that was cool the thing was and I kept thinking I'm like how the how the hell are they cabling this and and this Is something like the trick you just told me about reversing a floor tom leg you got to tell them about that later this was something that I had never thought of they had two there was there was a snake system built into the band car and there were

malt cables built into each stage elevator so what they would do is the band would drop down to the basement and the first the downstage elevator would drop down they would clip On another snake in parallel with the one that's running they would clip another snake onto the down stage elevator then break the snake for the band car right all these mics were condensers you know what happens if you unplug a condenser mic boom how did that not happen I asked the same question like well this is the way we do it I'm like you

know oh my God you honest to God you couldn't hear it I mean if I if it was Really oh my god when you unplug a condenser like that it's well this you're talking about unplugging like 60 of them at the same time I couldn't believe it after they told me what was going on after I I closed my mouth I would sit and I would listen and you could you could hear this just the ever slightest little tick I I couldn't figure out because they're applying voltage twice right it's hooked up to what to

the desks where it is they Didn't latch another cable on that's all molted together so there's another set of power that goes on there then they break this one it just it made no sense to me but it was the coolest thing I ever saw in my life still the coolest thing Dave do you enjoy doing this love it I know you do you're always you always have a big big smile on your face you love it you love traveling you love doing all this maybe not to traveling I don't like to Traveling so much

anymore no and when I was 20 it was great now I'm I'd rather be at home what's what's like the biggest screw up that was just audio wise yeah disaster audio wise no no malfunction of anything never it is to the point now where I haven't had so much as a mic cable go bad and I can't remember how long it's amazing say what you want about whatever sound companies this or that Clare Brothers there's a certain formula for stuff that Clare Brothers established a long time ago when I worked for cl brother when it

was called Clare Brothers audio Enterprises there was a way that we did stuff and I still insist that it's done that way now 45 years later that way worked and it continues to work 45 years later which means you got it right 45 years ago is it more expensive probably is it harder to do takes some effort but it works every time I can't honest to God I cannot Remember the last time I had a bad mic cable sub snake snake line to the front of the house amazing bad channel in the console I mean

you know you get a bad Channel you get a noisy pot or something all right the console is how old it's old yeah so like I said before a bad Channel great pull this out throw it away put a new one in everything's great but is that um reliable and that's key it doesn't matter how good your [ __ ] sounds if it doesn't work you're a jerk You know there's too many uh this is uh business this is big business the amount of money that people pay for tickets do some math uh so you

got 60,000 people coming say the average ticket price is $200 is that you think that's right or is it probably more may I don't even even if it's $200 that's $12 million gross yeah got to be right absolutely no offense to any of my other uh people that I work with but if the lights go off you turn the lights on in the Stadium and you keep going the video goes off sorry about your luck go get some binoculars yeah the audio goes off good night right so that is why I will op I will

opt for reliability over anything else use Reverb on the snare nope use effects in the voice though nope no no effects in the voice nope you have an incredible amount of Reverb in a venue right why are you going to put Reverb on something in a Reverb environment you're adding Confusion to the confusion you know oh my board tape sound better who cares okay so when you go and hear someone do you ever go to concerts or no no I mean okay you this I know what you're going to say and yes I did there

was a guy named clyve Franks that used to mix Elton John uhhuh that guy was the king of effects I mean he used stuff and you could hear it now I only heard him in the one particular venue that I happen to hear him at but I CLI had a Reputation he is a great mixer and when he used stuff you could you could definitely hear it and it sounded great it really did now what did it sound like in the enormo dome who knows you know I'm sure you could still hear the effects but

when you get back in the sort of toward the back of the building underneath the overhang and stuff starts bouncing around in that space it's going to be hard to discern things normally Let alone with a mountain of effect on it yeah so I just opt to not do that because to me just having the inputs is the best chance of hearing everything you know it doesn't add more confusion to the confusion do they have effects in their monitor mixes in the ears yeah in the ears yeah yeah because it's it's dry it's you know

it's right up front it's in your head it's like cans in a studio yeah you know you got To put something on there's there's re I'm sure there's Reverb I know he has things in his rack I have things with me in case you get into like a negative Reverb environment like outdoors in a field or at rehearsals explain this negative rever well you know no Ambience not negative Reverb but no Ambience like outdoors I would possibly use Reverb if if if absolutely you know if I got really bored it's weird when I would play

outside there's just Nothing you get no I mean nothing back get nothing back but if you stand on a couple of bad sounding stages you're going to dig not getting anything back you know because you're not going to want what's coming back how's this gig be today Dave you know some of the best sounding football games in history have been played here that's the truth it's built they're built for for the sports franchises they're not built for entertainment you Just you what are you going to do that's a bad sounding gig I thought about sitting

around crying but that that wasn't an option and as sure as hell wasn't going to fix anything you have to I'm not doing the gig because it doesn't sound very good in here all right that'll you can do that once you have to do it you just have to get on with it so that is my and that being lazy is My Philosophy for not using anything that and nobody came to see me you know a lot Of front of house guys got big egos I you know what I can't stand that I I really

can't da you get high you're not curing cancer you know you're not broker in peace between the Democrats and the Republicans you're mixing sound for ban you idiots you know okay but you get hired to do the biggest gigs because it sounds great when you do them uh I'm just I'm I'm saying I don't know I've never hired me you know what I'm saying but it's Word of Mouth I'm sure Absolutely as I said before I've never worked for a bad band and I pretty much only worked for pretty big bands yeah and so they

they talk to each other they have buddies in other bands you know or their managers talk to the other managers and stuff so it's kind of like a small um Community it's it's you know and they they talk they they talk yeah or they come to see a show on a day off Mick Fleetwood was at the gig the other night I love M great guy but but that You know for example they come to other show oh that sounded nice the other night you know find out who was mixing I'm sure that's it's got

to be the majority of it I would guess I mean you could go by somebody's resume but you're taking a chance you know you actually want to probably hear what the guy can do so Dave you don't work with any Protools bands I have been fortunate enough to not one band used Pro Tools so I asked one day or mention you know kind of cheating is it and the uh the artist said to me look I got keyboards on one song There's horns on another song should I hire hire a keyboard player and pay him

for a week to play four songs one song a night should I hire five horn players and pay them to play one song if we decide to do that song okay fine that's UT the Utility use of Pro Tools okay no problem yep you're absolutely right I agree 100% with that now when you start rolling stuff that other people should be playing or singing geez did I say that oh my God you know then I would consider it a problem you have friends that are sound guys that do that though right like I said I'm

a freak I have not I mean everybody's got Pro Tools yeah I I've Just gotten lucky I have never worked with anybody that that plays beside that one band do you record every show when you're out with the stones for example record every show for anybody because at any point in time somebody could say you know what I love what I did the other night or at a sound check hey did you record that little thing I was noodling on because it's an idea that they might turn into a song absolutely did I ever now

some bands now have Pro Tools Running off one of their digital consoles because it's real easy you just do uh Maddie is that what it's called I I don't know I think it's called Maddie or something like that you can run uh you can do multitrack recording off these digital consoles so that's probably something that happens all the time man I got to sound like a caveman oh well anyway um but I I do generally just be just because because more is better even if Somebody else is recording somewhere else I'll roll it because you

know he missed the take now I got it or I missed the take no they got it it just uh just just because I'm just used to it I mean we used to do it all the time in the old days first was cassettes then with dats dats dats I know right yeah so have a d player at home uh nope no but I got a lot of dats I should get a DAT player to transfer all there there's some stuff I don't I used to keep everything I did But then I thought you know

what it's really not yours you know it's somebody else's intellectual property but then there were a couple of gigs that were like kind of special I thought you know but I don't have a machine so what's the use of having them so I got rid of a lot of stuff I destroyed the tapes I didn't just toss them I destroyed them I I have some things or just some things I fool around like I have I I used to be involved with a a recording Studio I have things that I used to you know like

mixes on that that I wouldn't mind keeping just for the hell of it but now I don't have a machine and they're kind of finicky and I don't think anybody knows how to work on him anymore you worked with Van Halen back in the 80s yep what was it like to listen to Eddie play mindbending like like Jeff you know it's a these guys were the real deal they were the real deal Eddie Jeff I mean Allan holsworth is certainly in that group yeah Luca can you know Steve is a Monster yeah I I think

he's very underrated to tell you the truth that's my opinion one of the greatest of all time I agree those guys are that good it's that's that's magic that's what I consider being a musician oh you call yourself a musician really well those guys did and they deserved it they were musicians they it's hard to describe I know you Know the feeling of just like when Jeff was playing and you were standing there I I know what you were feeling because I feel the same I couldn't believe it like being in the tuning room with

these guys before the gig leaning on the you know whatever while they're this far away and watching them and I remember one guy was playing and I just started laughing and he looked at me goes what what are you laughing at I said you're playing it you You wouldn't understand to me it was like this the sound that I just heard you your hand shouldn't be there it should be here how did that well when I was watching Jeff from a few feet away I couldn't believe the sounds that were coming out and I was

thinking wait is he playing a guitar like he had a he had the way of the only hand you could see was this one really because this one this one has a whammy bar in the palm of his hand right and you can never tell The volume controls like this with his little finger and he was finger picking yeah so it was you know yeah you couldn't really see but having the two Marshalls turned up the whole way you know that definitely adds a little to it okay so the interesting thing when you said oh

Jeff doesn't usually come back out after soundcheck and then he walked right on the stage and I was stunned and then do you remember he had his little practice and he's like hey Can we try this out and you're like yeah yeah so miked it up absolutely and uh sounded like Jeff Beck sounded exactly like Jeff it didn't matter it was just like a little digital practice app that he used on the bus yep and and honestly it didn't sound that different it's all in the it's all in the hands absolutely hey I just bought

this thing I mean he was literally playing through an amp this big you put the mic in front of it a poopy little amplifier whatever it was And it sounded just like him that's guys cracked me up hey man I just bought all the stuff that this guy uses can you play like this guy no well then you just wasted all your money you wasted it all it's it it is it's it's the guy's hands it's the touch it definitely is I mean I've seen it over and over and over I mean you can go

buy a 5150 and buy a Wolf Gang guitar but it's not going to sound like Eddie unless okay when Eddie was playing how loud was Eddie's stage Volume the amps were when I did them the amps were underneath the I don't I can't remember if they were under the stage or under the set Al had a you know a pretty tall drum Riser so there was a a big space under that I can't remember which which way it was but he only had three he had three 4X 12s one was the left signal and one

was the right signal out of his rack of effects and one was a dry cabinet that was it that was all established stuff And I so it didn't matter to me or it didn't matter what I thought about anything you know where's the cabinets over there left right center okay I'm good you know I put the mics up and whatever came out came out and for whatever reason made it sound like that I didn't you know hey it sounds like Ed okay great okay so how do we get into into this thing about the digital

stuff though your ears yeah okay analog sounds better to you whether you know it does Or you don't your brain is smarter than you are six million years of evolution is not going to be fooled by 30 years of Chip design that's what I think yeah now I'm sure everybody will argue you know but these are analog and they always will be if you want to argue that I'm available all day long and and that's the way it is analog is better it is we did a thing once where we had a CD of the

piece of music And the turntable of a piece of music synced up with a blind tester this was I I will just go and say that we did this at Clare Brothers one day or CLA Global or whatever and it was a blind tester you switching back forth we'd sync up the playback so it was in sync and then you'd switch and you'd listen to what you know A or B whatever it was or they would switch it and I said analog or digital when I heard it and I was right Nine out of 10

times and they couldn't believe that and the reason that he couldn't believe it was he was young so he never heard vinyl or he never heard enough vinyl to know what it was that I was hearing because I heard you know mountains of vinyl compared you know there's little things you know I mean you know there's there's things artifacts uh o the high ends really Clear there that's probably the digital that you know what I mean there's there's things but I picked it nine out of 10 times did I get lucky probably but you know

that what's a record that it's incredibly well mixed any Steely Dan record what do you I love G what do you use to to do you play stuff through the systems or or do you already you know what what's going on did you do Bill schne I did he's the guy yeah he did a record for Sheffield Labs I guess it was like 1980 four or 85 called James Newton Howard and friends yeah it was it started out as was it live to dis or something it was live to directed disc it started out as

a demo for Yamaha for the then new DX7 and gx1 you remember the gx1 that big giant yeah they had some material and they were first it and they did it at some gigantic Sound Stage and they moved the Mics around for 2 or 3 days and it was James Newton Howard Jeff Baro Joe Steve and uh David P so it sounded perfect and every it was pretty damn close to like when you turn it up really loud it's like wow you can almost see the band there yeah Bill's un believable you know I mean

what he heard it's just and he got it to translate and it's there's so less stuff because it's Directed disc there's no fooling around with anything it's what it is is what it is so there was a grand piano in that and and it was the drum kit the two analog things so that's what I've used to EQ the PA from I don't know from since 1989 the same thing I use the second track which I don't even know what it's called and I use about well I use it I do it it's about 45

seconds or 60 seconds of it and I'm done because I feel that if You EQ for more than 60 seconds you're starting to lose sight of your goal you're digging yourself a deeper hole you're not moving forward you're just creating more problems for yourself so I just go yep okay uh uh yeah okay that's it okay I'm done again cuz I'm lazy but you know it's the first impression your first impression is probably right Dave you're not lazy I've seen you backstage I've seen you walking through the the you know where the tractor trailers are

And everything and you're checking on this and you're going there and you're going here and you're going on stage and you're coming back to the soundboard I've got a lot of nervous energy yeah you know yeah and I've also seen the the you know the kind of the pack up of stuff when you do that at roads Y when you do something like that where there's how many different consoles did they have everybody had their own sound guy if you go in and you do all your own Stuff then first of all if if I

hook I hook all my stuff up out front or I did now the guys do it for me but I have good guys that goes back to having good guys and I trust them when I used to hook up my own stuff I knew that it was right because ultimately I'm in charge or not in charge but I'm the lead off audio guy and I tell my guys no offense but these guys don't even know your name I'm sorry it's it's That's just the way it is if something [ __ ] up they're going to

say get Dave in here okay I'm perfectly capable of [ __ ] my own self up I don't need your help Dam well it's I mean it's the truth and there's a certain amount of psychology going that goes with these bands like if you you know for example if you go in you know yeah get get the sound guy in here and I go in the dressing room okay so what happened during that third song well you know uh He did this and he did that you start playing that blame game right you know what

that that starts cancer is what that starts yeah there's witch hunts going on and yeah what I do hey what the hell happened to that third song I [ __ ] up I blew it sorry oh uh oh well um don't do it again all right fine and that's it it's done right and even if it's another guy on the crew screws up I I tell him I did it they don't know the other guy That's like laying blame on you know what you want to be the big boy you're going to take it in

the face sometimes that's the right thing to do I feel it's the right thing to do I have one last thing I want to ask you about and I don't usually ask things like this but um you worked with Jeff Beck for 10 years or long enough yes that was unexpected and and um and shocking and there's really never will be someone like Jeff Beck again no and the hard Part for me with anybody passing away is I have a hard time realizing that I'll never see him again yeah you know what I mean oh

you know he's over in England no no he's not in England he he's not around anymore you know what I mean I have a hard time coming to grips for that Tina passed away last last year I think I worked for Tina for 25 years that was hard Charlie you know with the Stones it's another 20 years working with him It's this is what's happening these are the bands that we grew up with and the bands that we love and unfortunately all of us are getting older at the same rate that's right and and and

more this is going to happen not less this is just something and whether I like it or not you know whether I can come to terms with it or not doesn't [ __ ] matter does not matter that is not going to change anything yeah I try and remember as much stuff I have a couple of Pictures of me and Jeff or me and Tina or you know even Charlie and myself and I remember what it's like to work for him that's it that's all there is you know unfortunately it's permanent well Dave I really

appreciate you coming in today finally I see I see you all the time I talk to you all the time and it's it's uh it's about time that we did it no it's it's my fault I'm sorry Dave I appreciate it appreciate your friendship Absolutely thank you very much okay so Dave's gonna give us a quick lesson here this is uh tell explain what you're what we're talking about here Dave this is uh I have to preface this it's not a lesson this is how I do stuff I I would recommend that you never ever

do this never ever do this or I could pretty much guarantee you're going to get fired this is just something that's evolved and the way I've done stuff for 45 years so it look like a culmination Of 45 years of fooling around so Rick you like the drum sound love the drum sound okay even though I mix balls loud just because it's more fun but beside it being loud it's not painful no okay so how I do it is when I EQ this is a graphic I still use a graphic yes I'm old I'm bald

right so I start off by EQ and stuff I leave 20 to 80 flat flat zero that's the most low end you can get out of the PA cuz I have all the other Frequencies pulled down really all the way out NE 15 I play the James Newton Howard and friend CD and then I just start adding back in to the maximum amount of low end now I know the 160 sounds horrible it sounds horrible on drums I think it sounds horrible on everything so I I hate 160 so I leave 160 out at5 always

so at 80 htz it starts to come down and 160 is out the Whole way cuz I hate it uh an octave of 160 is 350 I've I've skipped a few frequencies in here because uh 315 is an octave of that you know I comes back up drifts around around 315 it's down a little bit back up 400 500 and then it come drops back down at 630 because that's an octave of 315 Y which is an octave of 160 which I still hate so then it kind of drifts around back up close to Flat

around 800 um 1K but this this is the stuff That hurts 2K 2.5 3.15k 4K that stuff hurts that's pain when you start hurting people they will have no time for you you you suck they will not listen to your stuff you can't listen to it if it hurts you can't and this all comes from uh when I mixed Tina Turner yeah her manager wanted it as loud as I could get it but I would have Grandma the kids their kids and their kids kids coming You know four generations of people coming to a Teena

show right you can't be hitting grandma with you know 2.5k it's pain it's literally painful it's painful it's painful so this is kind of how it evolved to be this way because I had to get it as loud as humanly possible without hurting people if you take the pain away which I do I dump this stuff out of the PA and at 5K I'm flat again flat zero it's flat it is flat all the way up to 20K take the pain away and take this this cloudy [ __ ] in the middle out of the

way the drums will sound better because of that and so the vocals to a certain extent take the pain away and people will listen to it as loud as humanly possible now that's just what I say as I stated before you'll probably get fired if you do this because this is weird it is nobody does this I have never seen anybody doing this on an analog console too I know but I have Never seen anybody EQ anything like this even back in the day when we were all using analog it's just a severe thing but

but Dave I can attest to this that these are everything you said is true these are the pain frequencies are the mud frequencies well this the drum stuff sounds better like this I I used to play drums in a previous life and I know for a fact by experimenting that this stuff makes drums sound like [ __ ] and this stuff I Know for fact hurts because I've experimented on myself you want to mix really loud this is what I do it's it's not very a very technical drawing but it it's a generality and then

Dave and then you're eqing on the individual channels based and then I'm EQ I EQ like if necessary I'm not afraid to turn stuff up and down NE 15 well I don't boost a lot of anything I don't boost anything on the system and I don't l a lot of Things I I cut I cut and I cut and I cut and that's that's basically how I do it and Alex Van Halen snare drum it sounds like that when he hits it that's the way it sounds that's the sounds just like Eddie's touch was hisound

Eddie's whatever whatever comes out of Eddie's amp is comes out came out of his amp right it sounds like him I just make it louder like I said nobody comes to the show because I'm mixing and mcms was loudest guitar that I ever missed okay there we go okay I just thought I I just remembered that and who's the loudest drummer that you ever mixed playing wise or because of their monitors play playing wise I mean it's all you know Alex hit the drums pretty good so does uh Vinnie Vinnie Vinnie can get right up

there you know so Dave forgot to mention one thing Dave I mix in mono and you mix in mono so that everyone every hears the same Thing everybody hears the same thing everybody pay the same amount is yeah everybody should hear the same thing if the biggest fan of this guitar player is sitting over here and I pan that guitar player over here he spent all his money for a ticket and he doesn't hear his favorite guitar player so I mixing mono stereo yeah it's a nice idea for 20t wide in the middle of the

room but unfortunately there's a lot of other People here you should take care of everybody else