Harry Brill Jr.: Tim, I heard you are using 24 760s per side. Is that the total number, or just the main array? Also, with that many boxes, how is the LF projection and control?

Tim: We are actually using a combo of 16 760 and 4 761's per side and 12 SB1000's per side, and I find the bottom end VERY controllable.

Moderator: Do you use additional arrays for side coverage in extremely wide coverage areas?

Tim: Yes, we use a combination of 4 760's and 4 761's for extreme sides in ALL venues.

Tucci: Are you saying that all EAW line arrays have a certain tone? Does it come from the factory that way? Isn't the engineer responsible for the tone?

Tim: Not all the time. Different companies use different woods for their cabinets, and different woods resonate at different frequencies, just like certain guitars sound different from others.

Moderator: The monitor rig for Usher is pretty serious, with line arrays and numerous wedges. Any concerns about monitors getting into the house too much?

Tim: At our stage volume, yes, but I have a GREAT monitor engineer that works with me and not against me. That’s 95 percent of the battle.

Another Dave: Is there a type of room where line arrays are not the best choice?

Tim: Honestly, I really can't see where a line array can't be used. You have to practice moderation, but if you know your situation, you should be able to cover all venues with this technology.

Moderator: What are your tuning and alignment techniques?

Tim: Depending on the venue - shed, theater or hockey rink, - I start by using program music that I know really well, and then use the current version of Smaart to really look at what the room is doing empty, and then go from there.

Another Dave: Why do you suppose line array development was dormant for so long?

Tim: Over the years, there have been so many different approaches to controlling a live room. I really think we had to have time for technology to catch up to our demands, and we as engineers were waiting for companies like EAW, JBL and EV http://www.electro-voice.com to take a course of action that we could follow.

Harry Brill Jr.: I am curious why you have 2 H3ks (Midas Heritage 3000). Are there really that many channels on the Usher show?

Tim: Yes sir , FOH is using 102 inputs and monitor world is using 112. Why? When you have very young kids as musicians, they have the feeling they can control everything that goes on, and sometimes their choices are wrong and it shows. So as an engineer, you have to take that control and make it work.

phat: What would you say are the most common mistakes in live mixing?

Tim: OVER MIXING a room. When you reach a certain point, the room will reject any more input and the mix will become a wash and all fidelity goes away.

Moderator: There's been loads of changes in live sound since you started... but... what's the single biggest change in your view?

Tim: Tough question!! I would say signal processing. These days everything seems to be going digital. I’m from the very OLD school and technology is moving at such a fast rate that a lot of the younger engineers are forgetting the basics, like signal flow, gain structure and etc.

Moderator: This next one refers to the Usher system...

Mike B: What kind of processor are you using for the main array?

Tim: We are using the EAW 8750 processor, a far cry from the old 800i's.

Moderator: Can you elaborate?

Tim: With this system, we can read any parameter of the input and out sections and adjust throughout the night, given changes in attendance and thermal conditions, if outside.

phat: What one thing can musicians do to make your job easier and everything sound better?

Tim: Build up trust in your FOH guy. He's there to make you sound fat, and there to replicate what you’re doing - not just control your volume.

Moderator: So it’s a matter of communication more than anything else?

Tim: Oh, yeah. Talking situations and problems out is a key factor for all involved. Remember, the person who pays to see the band is the person who pays your salary. If there are problems, such as volume between guitar and keyboard players, the paying customer will notice. No customer, no show. And no show, no pay!