Michael: The old system compression question: leveling amplifier, multi-band compression, or no compression?

Robert: I like to put a high-quality compressor right across my mix buss. I do not do "system" compression. I stay out of the system limiters at all costs. I like just working the dynamics of the mix to my advantage, i.e., if there is a really loud crowd, your problems become one of signal to noise. (Crowd being the noise, your mix being the signal.) So, for a really loud crowd, I will use more "mix" compression to decrease the dynamic range of my mix and then in turn, turn it up to let the crowd here the things that "their" volume is masking.

Robert (continued): My compressor of choice at the moment is the Manley opto. Cool because it offers side chain high pass filtering to keep the low end from dictating compression.

Charlie Hughes: What's the difference between a compressor across the mix bus and a system compressor?

Robert (continued): A compressor across the mix buss can help the headroom of your console, and in turn, help the headroom of your PA system. If the compressor is "outside" the console you don't get the headroom benefits "inside" the console.

Randy Frierson: Is that a tube unit, and are you at about 4:1 with a slight compression?

Robert: The Manley is fixed ratio or threshold dependant - it escapes me for sure right now. But as I said, the amount depends on my situation. Oh yeah, it's a tube unit.

Randy Frierson: So are you saying insert it on the mix buss or in-line?Robert: I am for inserting it. Always. That's me. Remember, this unit is not there for "protection" of components. This is a mix assistance tool.

Brian Belcher: How do you feel the Innova-Son, Yamaha PM1D and ShowConsole will change the future of mixing?

Robert: Well, those are two different architectures. Innova-Son and PM1D are all digital. ShowConsole is digital control of an analog desk. My take on it is this. I don't think the "music mixing" world of live sound is ready for all digital yet.

Robert (continued): Here's why I think that. It is a matter of logistics. You must remember that in the "all digital world" you have a limited number of inputs and outputs. If you want to do analog inserts, etc., you eat up valuable and very limited I/O. For my money, the digital-on-board dynamics are very limited. Rarely accessible side chains, etc. In the music world, there is an awful lot of analog gear that, in MHO, is crucial to the task at hand.

Robert (continued) So, I am a very big fan of digitally controlled analog. Plus the user interface is much, much more friendly to a live sound setting.

Randy Frierson: What is your favorite analog console?

Robert: My current console of choice is Midas XL-4.

The Old Soundman: When was the last time you literally got your hands dirty, Mr. Celebrity?

Robert: YESTERDAY! My front-of-house dude was away from the gig for personal reasons and I ACTUALLY set up the FOH! God it was liberating! Short of that only when I get in the bus bays to get some clean(er) clothes. It's a dirty job but someone has GOT to do it.

Randy Frierson: Is getting with production managers the best way to land a tour, especially a smaller company like ours? (Concert Systems USA)

Robert: I am assuming you are a vendor, yes?

Randy Frierson: Yes, but we are a large vendor and recently invested in a Nexo Alpha system and would like to tour.

Robert: Yes, that is probably one of your best routes. That and hook up with the local promoters to support your "one offs". It would not hurt to build a database of engineers to acquaint yourself with, and to keep abreast of your growth as well. As I mentioned earlier, I, as the mixer, have a great deal of say about who I use. (Until the budget is discussed!)

Randy Frierson: How do you find a new act and offer them full production, so as to help yourself and them?

Robert: Well, I would concentrate on bands who have secured management and a record deal at the very least. I am sure there are plenty of directories out there to help you build a pretty comprehensive database.