I also ran the drum bus, minus cymbals, out into my cutting room and ran a stereo pair of Blue Woodpecker mics to add more room, and everything turned out great. Everything else sounded fine in the box so I left it. All of the guitars were going through the ToneBuss, which is pretty close to a ’60s-era Neve console since it uses the same transformers. The bass was also going through my ancient Altec compressor, which only has an on/off switch and a meter. So I did all three! I ran the bass and drums through the Tube-Tech, which really rounds out the samples and the bass.
I liked certain sounds better through one summing amp or the other, and some better in the box. However, I recently had one project that just would not cooperate. When that happens, I push the mix through my Tube-Tech or ToneBuss summing amps, and I usually choose one to make everything sound more analog. I am one of those guys who is perfectly comfortable mixing “in the box,” but occasionally I am sent something that really sounds “digital.” You know, the guitars are all recorded direct through some kind of pedal rig, the drums are from a sampler and everything is really thin and bright. With the help of a little compression, I got away with this 10 or so times. All of the amps would be just bumping the protect lights. The crossover had to be set carefully, as well. I was using a modified Seck studio board and ran the outputs at +10 on those occasions. With less gain, I was able to avoid clipping even though I was running hotter than I liked. This gave me more output with less gain at the input.
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To keep from pushing my gains too much, I would route through a submaster, plus directly to the main out. All of this reduced my overall signal with little noticeable loss in sound quality.
Cut a little more of the lows out of the vocals than I would normally. I would sacrifice the lows in the kick a little. That helped keep from pushing each component too much. I also cut the lower range of each speaker component: 40 Hz down on the lows, cut at 160 to 200 on the mids and cut a little of the 800Hz to 1k area on the horns. You still had a good thump, but were using less power. One was to boost a low frequency (say 50 or 63 Hz) that sounded good in the room and pull down most of the other low frequencies. I learned a lot of tricks along the way to safely run the system at its peak without blowing it up. Starting out as a one-man sound company, I found that growth meant you would eventually find yourself in a venue larger than your system could handle.
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