sound part 1

  • 1.  sound part 1

    Posted 11-15-2010 15:36
    Ok - I brought this up after last year's PASIC and I was told that it was because of the new venue.   Well This is the second year in the same venue and instead of the problem getting resolved, IT GOT WORSE!

    I am referring to the sound at the drumset clinics.  The only one that sounded good was Jeff Hamilton because he only allowed the sound "engineer" two overhead mikes to work with.   The rest of the drum set clinics were a clinic about BASS DRUM VOLUME and nothing else.  

    Don't get me wrong, I loved the PASIC and all the other sessions were great - but the sound in the Ballroom 500 drum set sessions was terrible.   Take the mic out of the bass drums - or at least get an "engineer" that has some real ears and can balance all the drums. 


  • 2.  RE:sound part 1

    Posted 11-16-2010 15:55
    I'm with you Christopher!  I left every drumset clinic I went to early because my ears couldn't take it.  I didn't bring my plugs. Maybe the "engineer" should do all of the sessions without plugs as well.

  • 3.  RE:sound part 1

    Posted 12-03-2010 12:28

    Hi Chris,
    Thank you for your comments and feedback about the sound at PASIC.  It's important to know that there are many factors that come into play specifically when it comes to the sound in Ballroom 500.  What a lot of attendees don't realize is that the engineer is taking direction from the drum and microphone company reps as well as the artists or their techs themselves.  For instance, in several cases, the reps wanted the bass drum super boomy and loud and requested the engineer to push it up.  Even though this may not be what the engineer would typically do, we have instructed them to default to what the company rep, artist, (or their tech) is asking for.  The other tricky factor to consider in that ballroom is, depending on where you are sitting, or how many people are in attendance, the mix can sound completely different.  By the way, Jeff Hamilton is the perfect example of the engineer doing what the artist was asking for.  But with that subjective opinion made, every artist has their preferred way of being mic'd, mixed, etc.  And honestly, I did not receive or hear of a single complaint from any of the drum set clinicians or company's.

    You also have to keep in mind that the sound engineers have the toughest job at PASIC.  They've usually never worked with any of the artists or groups before and are given less than 1 hour to get the mics placed, monitors mixed, and front of house mixed.  All the while being told "how to do their job" by possibly 2 to 10 different people.  Given those circumstances and stress that PASIC puts on the crew for four days straight, I think overall, they do a heck of a job.  Put yourself in their shoes - It's most likely their biggest challenge of their year.

    I hope this gives you a little better insight or perspective into some of the behind the scenes factors and what we deal with when it comes to producing PASIC :-)

    ~ Jeff 

  • 4.  RE:sound part 1

    Posted 12-04-2010 19:35
    Spoken by someone who has attended since 1976, it is an unfortunate truth about PASIC today that the sound of the music is not the first priority. That said, it is a wonderful annual opportunity to share our common interests. As a general tip, it stands to reason that the best sound in the house is either close enough to hear the acoustic sound or right next to the sound board.

    William Moersch
    University of Illinois