23.7 - Sami Pilvilä band @ Petrelli

Let's start writing a few days before the show. Saturday, Petrelli. Sami Cloud bandThat plays rock and roll music from side to side. It's just that the audience's comfort is guaranteed.

I started in advance with the necessary routing and setuping of the mixer, so that the gig, and especially the soundcheck, can focus on the essential, and then there is no need to touch the settings. The last gig in that place on the house's own mixer was... How do you put it?.. somewhat challenging 🙂

The band plays the trio (except for one visiting artist) with this view, so the number of channels remains low. I initially reserved only four channels for drums (BD, SD, 2xOH), and, of course, bass, guitar and three songs, so we can stay in the set of less than ten channels. The ovars can be that I go up to one wire, because the space isn't big, and the clowns can hear without the doors. I thought I'd put a Ribbon mic / mikes in the door, which are soft in sound, and I hope the tomes would come through there on some level.

I set up three of the effects channels, one of which goes to the drums, and when, in practice, only snare is one of the speakers that's also wired, that's it. Plus, the songs have their own echo, and Delay. These, of course, are also used for guitar, if necessary. Sam has his own effect box in the song, so it may not be necessary for me to set the effects of the lead song, and I only put them in the background song, and for the visitor. Sami can, with thousands of gigs' experience, peddle the right effects, depending on the situation.

Eq curves that already lead to the nude channels. Basarin already knows what he wants to get out of there. Comfortable and a little bit of a scratch to clear the pedal. The only thing that Snareen can say now is that the HP filter is now at least, and we look at the others in Czech, as well as the ovars, bass and guitar. Even the songs can already know what is needed in advance, i.e. the HH filter and some 350Hz cutting. Part of me in Czech is the focus.

As far as dynamics are concerned, I am probably not using stumbling blocks (of course it will be more specific on the spot), but at least I will get Basar and snare.

The M32C in the picture and the Behkun 32-channel box. The mix is treated with bäd, so you don't need to water the cable separately in the bow. The software starts to standardize the Mixing Station, where the modelled is flashed according to your preferences.

As far as PA is concerned, we go to the house on our own Bosella, which plays nice, and the kick is good enough for that space. Monitors I bring three pieces of Martin Audion Blackline and the largest four-channel terminal for them. The terminal is even too good for that, but at least there's a reserve. 😀

So, here's the prep, and we'll go on after the gig.

Soundcheck

Not all the guys were there, so let's check out what we can.

The drums really did have a bass, a snare, and only one doorman for a friend. At least now, when the crowd wasn't there, it felt like it was enough to just break the bass, while the others were bleeding from the stage. Let's see when the space starts filling up, how many other channels are needed for the drums.

From Bass, I cut the upper frequencies, when it seemed like I was coming up a little bit, and I booted a little downstairs. At least I didn't put the stumbling block in the bass yet, but I might still squeeze it a little bit.

The guitarist was still at the second gig, so for the guitar the Czechs remain at the beginning of the gig, as well as for him the song. Of course, they checked the song so much that the stuff comes from both PA and monitors, but the gels are still pretty guessing.

As far as Sam is concerned, of course, the songs were checked out, and I did not make very big changes in the eqs. Only a little 5khz I did. Sam uses his own effect box, so I don't need to put any effects on his song.

As far as visitors are concerned, the songs are also made from their hectares, but it also becomes more specific when you get on the stage.

In general, I try to go with rather "pleasant" saunas and try to avoid, at least, overly uptight saunas. Sure, there's brightness and clarity, but not the bridge that hurts the ears. But, let's see how the saunas develop when the gig starts, and then we'll go back to the story when the gig is done.

These are now used: in basar shenkun E602, snare E904, in the door at the store RB500, in the guitar at shenkun E906. Three pieces of wise-ass songs.

Job

The gig started around 22.30, and the house started to be quite full at that time. I was doing "badimixing" among the audience, and that was a lot of brewing, and dodging people, when you could say that the stage end was getting crowded. I first checked the levels and corrected some of the eq curves.

We should have taken perhaps a little more of the genes in the songs, when the slides already grazed the maximum. However, in the middle of the set I did not go to change the level of the genes when it has a direct effect on the monitor levels. In the first intermission, I then made that lifting of the genes and, in the same proportion, I bet on the slides.

We also need to work on the drums with snare, as well as some ovar, when the population worked as a good demper for stage leaks.

The job as a whole is very good. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.

The band peddled three sets of more than half an hour, of which the middle set visited Sanna Pilvilä for a few moments. Composition of the band: Sami Pilvilä - Song & Basso, A-P Sipilä - Guitar & Background Song and Eki Ekfors - Drums.

Also at the end of the evening, a bartender from the staff was singing a very cool bet.

Thanks to the band, Petrelli, and the audience. Let's do it again next time.