Hi Everyone:
While we are waiting for the proper licensing to come through on the audio files from the TT24 I offered to post, I will tell you the in-depths of listening back to the recordings.
First, I found the effects on the TT24 to be incredibly responsive and lush. A stereo 400ms delay that sounded subtle when I applied it during the Trespassers William show became thick and huge on my Genelecs in my Airstream studio. The sound of the delay effect was a " good " huge, however, not grainy or incomplete. My choice for EQ on the vocal delay was vey similar to the old " telephone " effect, rolling out lows and highs, and allowing midrange to be the primary range to return through the delay.
I have found that the O1V effects banks ( essentially two 990's ) are good, but in truth, I have spent hours creating my own saved effects presets with eq's to combat the the graininess or overbearing presence some of the factory stored presets on the O1V have.
The TT24 effects responded well to the changes I made during the show, and the audible results proved it. I can actually hear the eq tightening up on the vocal effect.
Next, we recorded Ellis Paul ( ellispaul.com ), a prestigious singer songwriter who has done everything from writing songs for TV shows to composing anthems for state tourism bureaus ( Maine ). Beyond all that, he is one heck of a nice guy, and was all for us using the TT24 for the FOH mix.
So in two days, the TT24 had graduated from a recording console on a split, to our FOH console. I was very excited, but our owner Jim still expressed some trepidation about the mechanical nature of the console as being distracting to the show. I guess he's right, there is something about flying faders, computer screens, and blinking pastel lights that make people want to look...
My first job was to get a miniotr mix together for Ellis. I went in early, created a new scene, and pulled out a plain old Mackie SR450 powered speaker for his wedge. I used a Neumann KM 105 for the vocal, set up the Aux send in pre, and quickly got my gain and eq together. I did not use the internal eq of the Mackie on the Aux send, but instead used one of Sabine 31 band graphs. I just felt safer, should something start howling. ( It didn't! )
I did however, use the internal eq to go to the mains. I opened up the KM 105 ( and the Audix SCX-One for the guitar ) on just rang a few frequencies, I heard a few rough spots, and was able to track them down very quickly with the click and drag KILL feature on the master eq of the TT24. Ever narrowing my quotient, I got great response, without sucking out too much gain from the overall mix.
Then, I inspected my effects routing to make sure the feedback howl I generated in my headphones during the Trespassers show could not happen again. As I was checking with my talkback over the house system. ( Meyer CQ-1's and PS 750 subs ), Ellis walked in from dinner.
He said - " That's exactly the reverb I want you to use for me. " I smiled - I had copied the settings developed during the other show, and his approval validated that editing had indeed worked great for or small listening room and venue.
He walked onstage, spoke into the mic, and smiled himself...we were off to a great start.
Then, I pushed " SAVE ", and relaxed a little - I was feeling quite secure over the console, and it was responding well.
