X-Air Preset Library PDF [PDF]

Zitiervorschau

Behringer X-Air PRESET LIBRARY Hello! Thanks so much for downloading my Preset Library for the for the Behringer X-Air consoles. I wanted to not only provide such an easy tool for a quick setup on your board, but also empower you with the reasoning behind the presets and give you a why for the boosts and cuts in the EQ. I do not view presets as a one size fits all. Every mix is going to be different and your preferences will vary depending on the kind of sound you want. These should be viewed as a good starting area but may need a bit of tweaking in your situation depending on the size of instrument, mic placement and the musician. Make sure to trust your ears! Drew Brashler, dBB Audio

Instructions for Loading The easiest way to keep these presets organized is to save them onto your computer and load them in through the X-AIR Edit program. You can download this for free via Behringer’s website. -Save the uncompressed preset library (found in the ‘Preset Library’ folder) onto your computer -Select the channel you want to load the preset onto -Press the ‘Load’ button at the top right hand corner of the X-AIR Edit program -Press ‘Load Channel Preset’ from the dropdown -Navigate to where you saved the uncompressed preset library and select the preset you wish to load

Presets Included: 01.) dBB-Kick Out B52 02.) dBB-Kick In B91 03.) dBB-KickDrum B91 04.) dBB-KickDrum B52 05.) dBB-Snare NoTone 06.) dBB-Snare Easy 07.) dBB-Snare 08.) dBB-Snare Bottom 09.) dBB-Hi Tom

10.) dBB-Mid Tom 11.) dBB-Floor Tom 12.) dBB-Hi Hat 13.) dBB-Ride 14.) dBB-Overheads 15.) dBB-Electric GTR 16.) dBB-Acoustic GTR 17.) dBB-Keyboard 18.) dBB-Bass 1

19.) dBB-Bass 2 20.) dBB-Bass LowFreq 21.) dBB-Bass HiFreq 22.) dBB-MaleLessBass 23.) dBB-Male Vocal 24.) dBB-Female Vocal

01.) dBB-Kick Out B52 This is a preset for the use of a Shure Beta 52A microphone on the outside of the kick drum. The Shure Beta 52A is a perfect kick drum mic, and I love using this in combination with the Shure Beta 91 on the inside of the kick. You will be able to vary the amount of thump vs. click from the beater on the fly at the sound board with this mic setup. The thump comes from the Beta 52 and the click comes from the Beta 91. I will typically have this microphone at the sound hole on the resonance head of the drum (non beater side). The tip of the microphone will be right at the same depth as the head itself and pointing in-between the beater and the rim of the kick.

Gate: -The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 70Hz to only be “listening” to the area of that range. -With an attack of 1ms, the gate will open immediately. With the hold at 224ms and the release at 361ms, the gate will allow sufficient time for the kick drum to naturally decay before attenuating the channel. EQ: -Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick. -Low Band: Rarely will I do a boost with EQ, but with the kick drum it is beneficial! Taylor this boost in the 50-60Hz range to give that thud you are looking for. -Lo Mid Band: Cutting in the 200-400Hz range is where most of the “boxiness” of a kick drum is, so cutting in this range is a perfect way to help get the right sound. -Hi Mid & High Band: This cut is a combination of the Hi Mid Band with the High Band High Cut to sculpt the upper end of the click from the beater hitting the head of the kick drum. You can see that we are emphasizing the low end with this channel setup but still keeping a little of the attack of the beater in the audio to be able to use this channel without the adding of the inside kick mic. Dynamics: -I am using a 5:1 compressor with a semi fast attack and a fast release to allow for the sound of the beater hitting the head to slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

02.) dBB-Kick In B91 This is a preset for the use of the Shure Beta 91 on the inside of the kick drum. I use this in combination with the Shure Beta 52A on the outside of the drum. I will typically set this microphone on a blanket or small pillow to keep it from rattling around inside of the drum. Make sure when routing the mic cable to NOT have it touch the drum head or you can loose low end. NOTE: This preset does NOT enable phantom power, the Shure Beta 91 will require phantom power to work.

Gate: -The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 80Hz to only be “listening” to the area of that range. -With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 361ms, the gate will allow a short time for the kick drum to naturally decay before attenuating the channel, but much shorter time in comparison to the Beta 52. EQ: -Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick. I have this set a few Hz higher than the Beta 52 as the main purpose of this microphone is NOT for the super low end. -Low Band: As most of the low end is coming from the Beta 52, I have left this at a minimal boost on the low end. You can taylor the low end as needed. -Lo Mid Band: This is a -10dB cut at around 300Hz to help reduce the boxiness sound of the kick drum. -Hi Mid Band: There is a small 4dB boost at 2.79kHz to help emphasize the beater click, you may need to adjust the frequency a little bit depending on the kick pedal, beater type and head. -High Band: This is a High Cut (Low Pass Filter) at 7.09kHz to help reduce cymbal bleed in the kick drum microphone. Dynamics: - I am using a 5:1 compressor with a medium attack and slow release to help give definition to the beater sound. Due to the medium attack, the beater sound will pass through and then compress the fundamental tones of the drum due to the slow release. You will need to adjust the threshold to get about 2-3dB of gain reduction.

03.) dBB-KickDrum B91 This is a preset for using the Shure Beta 91 as the ONLY kick drum microphone. I will typically set this microphone on a blanket or small pillow to keep it from rattling around inside of the drum. Make sure when routing the mic cable to NOT have it touch the drum head or you can loose low end. You can do this by using a small stand to support the cable as it comes out of the sound hole. NOTE: This preset does NOT enable phantom power, the Shure Beta 91 will require phantom power to work.

Gate: -The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 80Hz to only be “listening” to the area of that range. -With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 361ms, the gate will allow a short time for the kick drum to naturally decay before attenuating the channel. EQ: -Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick. -Low Band: Using the low shelf on the kick drum in combination with the Low Cut is a great way to get the extra low end you need but keep the kick drum sounding tight. This is a +6dB gain starting at 88Hz, but you will see that with the Low Cut, 39-60Hz is emphasized. -Lo Mid Band: This is a -10dB cut at around 250Hz to help reduce the boxiness sound of the kick drum. -Hi Mid Band: There is a small 4dB boost at 2.43kHz to help emphasize the beater click, you may need to adjust the frequency a little bit depending on the kick pedal, beater type and head. -High Band: This is a High Cut (Low Pass Filter) at 7.87kHz to help reduce cymbal bleed in the kick drum microphone. Dynamics: -I am using a 5:1 compressor with a fast attack and a fast release to allow for the sound of the beater hitting the head to slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

04.) dBB-KickDrum B52 This is a preset for using the Shure Beta 52A as the ONLY kick drum microphone. I will typically have this microphone at the sound hole on the resonance head of the drum (non beater side). The tip of the microphone will be right at the same depth as the head itself and pointing in-between the beater and the rim of the kick.

Gate: -The gate is setup in a way to only have the sound of the kick drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the kick drum is not hit. You will need to vary the threshold to have the gate open when the kick drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 70Hz to only be “listening” to the area of that range. -With an attack of 1ms, the gate will open immediately. With the hold at 224ms and the release at 361ms, the gate will allow sufficient time for the kick drum to naturally decay before attenuating the channel. EQ: -Low Cut: Depending on your subwoofers, you might want to bring the Low Cut up or down in frequency. You will find by keeping this Low Cut around the 30-40Hz range, you will end up tightening up the sound of the kick. -Low Band: Using the low shelf on the kick drum in combination with the Low Cut is a great way to get the extra low end you need but keep the kick drum sounding tight. This is a +7dB gain starting at 80Hz, but you will see that with the Low Cut, 40-60Hz is emphasized. -Lo Mid Band: This is a -10dB cut at around 340Hz to help reduce the boxiness sound of the kick drum. -Hi Mid Band: There is a small 4dB boost at 2.79kHz to help emphasize the beater click, you may need to adjust the frequency a little bit depending on the kick pedal, beater type and head. -High Band: This is a High Cut (Low Pass Filter) at 6.62kHz to help reduce cymbal bleed in the kick drum microphone. Dynamics: -I am using a 5:1 compressor with a fast attack and a fast release to allow for the sound of the beater hitting the head to slightly come through, but to emphasize the low end with the fast release. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

05.) dBB-Snare NoTone This is a preset for a snare drum with a microphone on the top. The perfect use for this preset is to use it on a snare that has too much overtones and is in dire need of some moon gels!

Gate: -The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 600Hz to only be “listening” to the area of that range. -With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at 258ms, the gate will allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel. EQ: -Low Cut: Most snare drums don’t need much information lower than 100Hz, to keep your mix less muddy, keep the low cut around 100Hz. -Low Band: Using a low shelf I added +3dB below 280Hz to add a bit of fullness to the sound. -Lo Mid Band: An -8dB cut at 600Hz removes some boxiness and a bit of the overtones from the snare. -Hi Mid Band: A +2dB boost around 5kHz adds a bit of boost to the sound of the snares. -High Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow bandwidth cut on any annoying frequencies that may pop up from different snares. Dynamics: -I am using a 5:1 compressor with a medium attack and a medium release to allow for the main transient of the snare hit, then reduce the ‘sound’ of the shell and overtones, but then release to bring the snares back in. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

06.) dBB-Snare Easy This is a preset for a snare drum with a microphone on the top. Compared to the other snare presets, this has less attenuation with the gate and a little less compression.

Gate: -The gate is setup in a way to reduce bleed into the snare channel. You will need to vary the threshold to have the gate open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 600Hz to only be “listening” to the area of that range. -With an attack of 0ms, the gate will open immediately. With the hold at 200ms and the release at 504ms, the gate will allow more than sufficient time for the snare drum & snares to naturally decay before attenuating the channel. Also, there is a -20dB attenuation in comparison to the -40dB on the range from the other snare presets. EQ: -Low Cut: To allow for a little bit more low end on the snare to come through, the low cut is set to 80Hz. -Low Band: Using a low shelf I added +5dB below 175Hz to add a bit of fullness to the sound. -Lo Mid Band: An -6dB cut at 400Hz removes some boxiness from the snare. -Hi Mid Band: A very wide bandwidth +5dB boost around 4kHz makes the snare sound brighter. -High Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow bandwidth cut on any annoying frequencies that may pop up from different snares. Dynamics: -I am using a 3:1 compressor with a very fast attack and a fast release to allow for a reduction of the main transient of the snare hit and then release to bring the snares back in. You will need to adjust the threshold to where you are getting 3dB of gain reduction on the hits.

07.) dBB-Snare This is a preset for a snare drum with a microphone on the top. This preset will reduce the lows of the snare while adding a bit of boost in the higher end on the snare.

Gate: -The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 600Hz to only be “listening” to the area of that range. -With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at 258ms, the gate will allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel. EQ: -Low Cut: Most snare drums don’t need much information lower than 100Hz, to keep your mix less muddy, keep the low cut around 100Hz. -Low Band: Using a low shelf I cut -4.5dB below 600Hz to reduce the low end of the snare. -Lo Mid Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow bandwidth cut on any annoying frequencies that may pop up from different snares. -Hi Mid Band: A +5dB boost around 2kHz adds a bit of boost to the sound of the snares. -High Band: I continued a +2dB boost with a high shelf from 2.4kHz going up. Dynamics: -I am using a 2.5:1 compressor with a medium attack and a medium release to allow for the main transient of the snare hit, then reduce the ‘sound’ of the shell and overtones, but then release to bring the snares back in. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

08.) dBB-Snare Bottom This is a preset for a snare drum with a microphone on the bottom. This preset will focus on compressing the initial part of the snare rattle but elongate it using compression.

Polarity: -Because the top microphone is pointing down, and the bottom microphone is pointing up, a snare hit would cause a negative pressure on the top mic, and a positive pressure on the bottom mic. This could cause a lot of bad audio interactions, to fix this, we need to flip the polarity of the bottom snare channel. This preset has the polarity reversed. Gate: -The gate is setup in a way to only have the sound of the snare drum coming through when it is open, that way the bleed of the rest of the drum kit is muted when the snare drum is not hit. You will need to vary the threshold to have the gate open when the snare drum is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used with a Low Cut around 1kHz to remove the possibility of the kick drum opening the gate.. -With an attack of 0ms, the gate will open immediately. With the hold at 112ms and the release at 315ms, the gate will allow sufficient time for the snare drum & snares to naturally decay before attenuating the channel. EQ: -Low Cut: Because the main portion of low end for the snare is coming from the top microphone, the bottom mic is mostly for the sound of the snares. We have this set to 201Hz. -Low Band: Using a low shelf I cut -2.5dB below 2kHz to reduce the low end of the snare. -Lo Mid Band: This band is not used, but can be added how you wish! I would suggest keeping this for a narrow bandwidth cut on any annoying frequencies that may pop up from different snares. -Hi Mid Band: A +3dB boost around 4.3kHz adds a bit of boost to the sound of the snares. -High Band: This band is not used, but can be added how you wish! Dynamics: -I am using a 3:1 compressor with an attack of 0ms, a short 5ms hold and a short 10ms release, we are compressing the initial part of the snare rattle, but elongating the sound of the snares. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

09.) dBB-Hi Tom This is a preset for a smaller tom typically used in the high position with a microphone on the top. One of my favorite microphones is the Audix Micro-D as it is small and comes with a clamp for mounting. A Shure SM57 is also a great choice.

Gate: -The gate is setup in a way to only have the sound of the tom coming through when it is open, that way the bleed of the rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open when the tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 182Hz to only be “listening” to the area of that range. -With an attack of 0ms, the gate will open immediately. With the hold at 316ms and the release at 385ms, the gate will allow sufficient time for the tom to naturally decay before attenuating the channel. EQ: -Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ on the low end. This is emphasizing the area in the 180Hz range with around a +3dB boost. Vary the freq. of the low cut and the low band together up or down to find the fundamental tone for the tom. -Lo Mid Band: A wide bandwidth -13dB cut at 570Hz helps reduce the boxiness tone of the tom. -Hi Mid Band: A +6dB boost at 2.79kHz adds a bit of boost the attack of the stick hitting the tom. -High Band: The high cut at 5.57kHz helps reduce cymbal bleed in the tom channel. Dynamics: -I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold to where you are getting 6dB of gain reduction on the hits.

10.) dBB-Mid Tom This is a preset for a medium sized tom typically used in the high or mid position with a microphone on the top. One of my favorite microphones is the Audix Micro-D as it is small and comes with a clamp for mounting. A Shure SM57 is also a great choice.

Gate: -The gate is setup in a way to only have the sound of the tom coming through when it is open, that way the bleed of the rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open when the tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 138Hz to only be “listening” to the area of that range. -With an attack of 0ms, the gate will open immediately. With the hold at 316ms and the release at 385ms, the gate will allow sufficient time for the tom to naturally decay before attenuating the channel. EQ: -Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ on the low end. This is emphasizing the area in the 120Hz range with around a +3dB boost. Vary the freq. of the low cut and the low band together up or down to find the fundamental tone for the tom. -Lo Mid Band: A wide bandwidth -13dB cut at 570Hz helps reduce the boxiness tone of the tom. -Hi Mid Band: A +6dB boost at 2.79kHz adds a bit of boost the attack of the stick hitting the tom. -High Band: The high cut at 5.57kHz helps reduce cymbal bleed in the tom channel. Dynamics: -I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold to where you are getting 6dB of gain reduction on the hits.

11.) dBB-Floor Tom This is a preset for a floor tom with a microphone on the top. My favorite microphone for the floor tom is the Audix D6. The low end on that microphone is amazing and will really give a great sound from the floor tom.

Gate: -The gate is setup in a way to only have the sound of the floor tom coming through when it is open, that way the bleed of the rest of the drum kit is muted when the tom is not hit. You will need to vary the threshold to have the gate open when the floor tom is hit, but not when the cymbals or snare is hit. You will notice the Key Filter is being used centering around 105Hz to only be “listening” to the area of that range. Careful with setting this as the Kick drum is always the culprit for accidentally opening the gate for this channel -With an attack of 0ms, the gate will open immediately. With the hold at 251ms and the release at a long 615ms, the gate will allow sufficient time for the floor tom to naturally decay before attenuating the channel. EQ: -Low Cut & Low Band: I use the Low Cut in combination with the Low Band EQ to create a bell shape curve for the EQ on the low end. This is emphasizing the area in the 60-80Hz range with around a +3dB boost. Vary the freq. of the low cut and the low band together up or down to find the fundamental tone for the tom. -Lo Mid Band: A wide bandwidth -13dB cut at 317Hz helps reduce the boxiness tone of the floor tom. -Hi Mid Band: A wide bandwidth -5dB cut at 1kHz helps taylor the sound of the floor tom. -High Band: The high cut at 7kHz helps reduce cymbal bleed in the floor tom channel. Dynamics: -I am using a 5:1 compressor with a medium attack and a medium release to allow for a little of the main transient of the tom hit, then reduce the ‘sound’ of the tom, but then release to elongate the decay. You will need to adjust the threshold to where you are getting 5dB of gain reduction on the hits.

12.) dBB-Hi Hat This is a preset for the Hi Hats. Most commonly I will use a small diaphragm condenser microphone for this like the Audio Technica AT4041.

Gate: -The gate is setup as an automatic mute to attenuate the channel when it is not being used. -With an attack of 1ms, the gate will open immediately. With the hold at 141ms and the release at a 116ms, the gate will allow sufficient time for the natural decay of the high hat before attenuating. EQ: -Low Cut: Set at 189Hz we are reducing any of the low end from this microphone as the hi hat does not produce any low end that we will need. -Low Band: I use the the Low Shelf with a -7dB cut for everything below 1.3kHz, this gives a high frequency boost. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: This is not used with this preset, feel free to change that! -High Band: This is not used with this preset, feel free to change that! Dynamics: -I am using a 5:1 compressor with an attack of 0ms and a fast release to allow for a reduction of the initial peak of the high hat. You will need to adjust the threshold to where you are getting 4dB of gain reduction on the hits.

13.) dBB-Ride This is a preset for the Ride cymbal. Most commonly I will use a small diaphragm condenser microphone for this like the Audio Technica AT4041.

Gate: -The gate is setup as an automatic mute to attenuate the channel when it is not being used. -With an attack of 1ms, the gate will open immediately. With the hold at 200ms and the release at a 337ms, the gate will allow a short time for the natural decay of the ride before attenuating. EQ: -Low Cut: Set at 195Hz we are reducing any of the low end from this microphone as most ride cymbals do not produce any low end that we will need. -Low Band: I use the the Low Shelf with a -4dB cut for everything below 550Hz, this gives a high frequency boost. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A 2.8kHz boost of +2dB helps add the stick sound hitting the ride. -High Band: A +4dB High Shelf at 12.3kHz adds a bit more brightness to the sound of the ride. Dynamics: -I am using a 3:1 compressor with an attack of 0ms and a fast release to allow for a reduction of the initial peak of the ride. You will need to adjust the threshold to where you are getting 2dB of gain reduction on the hits.

14.) dBB-Overheads This is a preset for drum set overheads. Most commonly I will use a small diaphragm condenser microphone for this like the Audio Technica AT4041.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds. -With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the gate will allow sufficient time for the natural decay of cymbals at the end of a song, but mute when the drums are not being played. EQ: -Low Cut: Set at 101Hz we are reducing any of the low end from this microphone as the direct microphones are better at picking up the low end due to proximity effect. -Low Band: I use the the Low Shelf with a -5dB cut for everything below 700Hz. This helps limit the low end of the audio spectrum in the microphone. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: This is not used with this preset, feel free to change that! -High Band: I use a High Shelf with a +4dB boost at 7.6kHz to add some brightness to the cymbals. Dynamics: -I am using a 3:1 compressor with a slow attack and a fast release to allow for a for the initial crash of the cymbal, but then limit the decay a bit. You will need to adjust the threshold to where you are getting 2dB of gain reduction on the hits.

15.) dBB-Electric GTR This is a preset for a mic’ed electric guitar cabinet. I will typically use a Shure SM57 as this is the staple guitar microphone. The Audix I-5 and Sennheiser MD-421 are also great alternatives!

Gate: -The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds. -With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the gate will attenuate when the guitar is not being played. -You will need to vary the threshold to set above the noise of the amplifier when not being played. EQ: -Low Cut: Set at 84Hz we are limiting the amount of electric guitar going to the subwoofers. Some musical genres will need a bit more of the electric guitar into the subwoofers, but most of the time -Low Band: I use the the Low Shelf with a -5dB cut for everything below 400Hz. This helps clean up a bit of muddiness in the overall mix of the band. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A narrow +4.5dB boost of 2.34kHz adds a bit more presence for the electric guitar. -High Band: This is not used with this preset, feel free to change that! Dynamics: -I do not use compressors with electric guitar. Typically electric guitar players are very picky on their tone and dynamics. I find that you can gain more trust with a guitar player when you mention to them that you want to keep their tone in the system correct and that you don’t use a compressor. With that trust comes the ability to ask them to turn down their amplifiers without an immediate NO.

16.) dBB-Acoustic GTR This is a preset for an acoustic guitar through a direct box.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds. -With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the gate will attenuate when the guitar is not being played. -You will need to vary the threshold to set above the noise of the guitar when not being played. EQ: -Low Cut: Set at 95Hz we are limiting the amount of acoustic guitar going to the subwoofers as most guitars aren’t useful in this area of the spectrum. -Low Band: I use the the Low Shelf with a -3dB cut for everything below 317Hz. This helps clean up a bit of muddiness in the overall mix of the band & vocals. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A -3.5dB cut at 2kHz removes some of the abrasiveness of the acoustic in the mix -High Band: A -3.25dB cut at 8kHz removes some of the harshness of the acoustic. Dynamics: -The use of the compressor here is to limit the attack of the pick from the acoustic and get more of the note on the guitar. A fast attack limits the transient from the pick on the strings, and a fast release puts the emphasis to the notes rather than the percussiveness. You will need to adjust the threshold to where you are getting 2dB of gain reduction while playing.

17.) dBB-Keyboard This is a preset for an electric keyboard/piano through a direct box.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it has not been in use for 1.5 seconds. -With an attack of 1ms, the gate will open immediately. With the hold at 502ms and the release at a very long 983ms, the gate will attenuate when the keyboard is not being played. -You will need to vary the threshold to set above the self-noise of the keyboard when not being played. EQ: -Low Cut: Set at 40Hz we are limiting the amount very low frequency into the subwoofers. -Low Band: I use the the Low Shelf with a -4dB cut for everything below 300Hz. This helps clean up a bit of muddiness in the overall mix of the band & vocals. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A +4.75dB boost at 3.81kHz adds a bit of clarity to the keys -High Band: This is not used with this preset, feel free to change that! Dynamics: -I typically do not use compression on Keyboards as their patches usually incorporate some sort of compression internally.

18.) dBB-Bass 1 & 19.) dBB-Bass 2 These are two presets for a bass guitar through a direct box. Depending on the song and the player, one may suit better than the other.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it has not been in use. -With an attack of 0ms, the gate will open immediately. With the hold at 141ms and the release at a long 615ms, the gate will attenuate when the bass guitar is not being played. -You will need to vary the threshold to set above the noise of the bass when not being played. EQ: -Both of these presets have a slight boost to the low end, a cut in the 200Hz area to clean up the overall mix of muddiness and a boost at 3.43kHz to give some clarity to the strings and finger sounds. Dynamics: -dBB-Bass 1 uses a slow attack, 44ms hold and a medium release. This lets a lot of the attack of the picking through but attenuates the first part of the note to elongate the sustain of the note. Adjust the threshold to get 4dB of gain reduction. -dBB-Bass 2 uses a faster attack and a short release. This attenuates the sound of the picking, but releases before the natural sustain of the string starts. Adjust the threshold to get 4dB of gain reduction.

20.) dBB-Bass LowFreq & 21.) dBB-Bass HiFreq

This is a preset for a bass guitar through a direct box. This will use two channels and you will need to select the input to be from the same board input. To do this, select the channel, press ‘Input’ find ‘Analog Input’ and select the correct input jack. Repeat for the other channel, and now the two channels will be using the same input. dBB-Bass LowFreq will process the low end of the bass guitar, while the dBB-Bass HiFreq will process the high end of the bass. Throughout the songs you are able to vary the bass vs treble of the guitar for easy different sounds. Using a Hi-Cut on the dBB-Bass LowFreq, we can focus on just the low end and likewise on the dBB-Bass HiFreq, we will use a Lo-Cut to focus on just the high end.

22.) dBB-MaleLessBass This is a preset for a singer with a lot of low end in his voice. Low end in males is very easy to come by, either by being a bass vocalist or singing right up into the mic grill (proximity effect) this bass is not always wanted. This preset rolls off a bit of the low end off and adds some much needed high end to get away from the muffled sound. Be cautious of feedback with any boosting of high end if open floor monitors are being used.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it is not being used. -With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will attenuate when the mic is not being used.. -You will need to vary the threshold to set above the background noise when not being used. EQ: -Low Cut: Set at 92Hz we are limiting the amount of vocals going to the subwoofers. -Low Band: I use the the Low Shelf with a -6dB cut for everything below 340Hz. This helps clean up a bit of muddiness in the vocals. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A +9.5dB boost at 4.68kHz adds clarity to the bass heavy vocal. -High Band: This is not used with this preset, feel free to change that! Dynamics: -The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain reduction while the vocalist is singing normally.

23.) dBB-Male Vocal This is a preset for a male vocalist. Be cautious of feedback with any boosting of high end if open floor monitors are being used.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it is not being used. -With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will attenuate when the mic is not being used.. -You will need to vary the threshold to set above the background noise when not being used. EQ: -Low Cut: Set at 104Hz we are limiting the amount of vocals going to the subwoofers. -Low Band: I use the the Low Shelf with a -2dB cut for everything below 340Hz. This helps clean up a bit of muddiness in the vocals. -Lo Mid Band: This is not used with this preset, feel free to change that! -Hi Mid Band: A +2dB boost at 4.68kHz adds clarity to the vocal. -High Band: This is not used with this preset, feel free to change that! Dynamics: -The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain reduction while the vocalist is singing normally.

24.) dBB-Female Vocal This is a preset for a female vocalist. Be cautious of feedback with any boosting of high end if open floor monitors are being used.

Gate: -The gate is setup as an automatic mute to attenuate the channel after it is not being used. -With an attack of 1ms, the gate will open immediately. With the hold at 79.6ms and the release at 173ms, the gate will attenuate when the mic is not being used.. -You will need to vary the threshold to set above the background noise when not being used. EQ: -Low Cut: Set at 114Hz we are limiting the amount of vocals going to the subwoofers. -Low Band: I use the the Low Shelf with a -2dB cut for everything below 360Hz. This helps clean up a bit of muddiness in the vocals. -Lo Mid Band: A -4.75dB cut at 700 helps clean up the vocals. -Hi Mid Band: A +5dB boost at 3.2kHz adds clarity to the vocal. -High Band: I use a high shelf boost of +6dB above 8kHz to give a bit more brightness to the vocals. Dynamics: -The use of the compressor here is to limit the dynamics of the singer. Using a fast attack and a fast release keeps tabs on the dynamics while staying not noticeable. You will need to adjust the threshold to where you are getting 3dB of gain reduction while the vocalist is singing normally.

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