That is what I figured. They were trying to manage her with only volume and the board's EQ (I would guess it was a three channel EQ)
On the first song her volume was really loud and the high end had too much power. They fixed it within 30 seconds of starting by rolling off the treble and dropping the volume. After that I don't think that the board was really touched again. There seemed to be two guys back on the boards. The first one was responsive, the second one must have just been trying to manage feedback (I didn't hear any which was refreshing)
Having your own global compression with a sidechain input would allow you to manage sound better since it would only compress a little when she started to sing. Having this done local doesn't mean that you cannot feed back the main vocal to the board, you just need to split off the mic level signal and put it through a mic pre-amp, then a transformer to get to hi-Z and then into your HW compressor side chain. The pre-amp can be crappy since all you are doing is creating a trigger for the compressor. If you are doing a SW compressor just route the output of the crappy mic-preamp into an input channel on your sound card and then Sw route it into the compressor's sidechain. Live7 has two compressors, one has the side chain in it. The one thing that sucks with the internal side chain is that you cannot route data from a VST back into the side chain. You can get a HW compressor and a cheap mic preamp for around $100, go for the Alesis, the Behreinger ones are pretty crappy.
Depending on the gain you set on the side chain you would compress more (you can also add an EQ into the side chain path as well as you can do frequency controlled compressing. That way you can onlye compress when she is singing in a lower register and needs help getting out from under the other instruments. This is how you would do a drum kit compressor. The tom would sidechain into the kick's compressor. That way the kick drum moves out of the way of the tom so you can hear it without being muddy.
I keep a Alesis 1U dual channel compressor handy so I can use it on channel inserts for the channels that have more base and I run an AUX send over to the side chain (that channel sums the more treble channels together) This allows me on the main board to get the lead vocals to sound more clear without having to rely on stage based downmixing by the bands. If they do the down mixing then all I can do is manage the global volume, global compression, and the monitor volumes.
On the first song her volume was really loud and the high end had too much power. They fixed it within 30 seconds of starting by rolling off the treble and dropping the volume. After that I don't think that the board was really touched again. There seemed to be two guys back on the boards. The first one was responsive, the second one must have just been trying to manage feedback (I didn't hear any which was refreshing)
Having your own global compression with a sidechain input would allow you to manage sound better since it would only compress a little when she started to sing. Having this done local doesn't mean that you cannot feed back the main vocal to the board, you just need to split off the mic level signal and put it through a mic pre-amp, then a transformer to get to hi-Z and then into your HW compressor side chain. The pre-amp can be crappy since all you are doing is creating a trigger for the compressor. If you are doing a SW compressor just route the output of the crappy mic-preamp into an input channel on your sound card and then Sw route it into the compressor's sidechain. Live7 has two compressors, one has the side chain in it. The one thing that sucks with the internal side chain is that you cannot route data from a VST back into the side chain. You can get a HW compressor and a cheap mic preamp for around $100, go for the Alesis, the Behreinger ones are pretty crappy.
Depending on the gain you set on the side chain you would compress more (you can also add an EQ into the side chain path as well as you can do frequency controlled compressing. That way you can onlye compress when she is singing in a lower register and needs help getting out from under the other instruments. This is how you would do a drum kit compressor. The tom would sidechain into the kick's compressor. That way the kick drum moves out of the way of the tom so you can hear it without being muddy.
I keep a Alesis 1U dual channel compressor handy so I can use it on channel inserts for the channels that have more base and I run an AUX send over to the side chain (that channel sums the more treble channels together) This allows me on the main board to get the lead vocals to sound more clear without having to rely on stage based downmixing by the bands. If they do the down mixing then all I can do is manage the global volume, global compression, and the monitor volumes.
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