As for processing, he continues, “I don't use any compression on the mix bus. But I do use just a tiny bit of dynamic EQ, just a bit of 3k (Hz) and a bit of 800 (Hz). When a mix gets loud, it can get a bit shrill, so I like to have that and a little bit on Sir Tom’s iconic vocal. His mic technique is consistent night to night. I know what lines he sings loud so rather than compress it, I just do it manually. There is a compressor on it, but it's set at 2:1 and a threshold of -10 dB; it maybe comes on once in the show.”
Programming mixes with VCAs
Like many engineers, Tempany mostly mixes using VCAs, programming 12 faders as VCA groups with another block of 12 faders for more granular control of individual channel sources. As he explains, he programs the band — which includes drums, bass, two guitarists with multiple electric and acoustic instruments, keyboards and tracks, where applicable — as well as Jones’ vocal effects into VCA groups and stores them at 0 dB.
“The unique thing is that the Live has a store scope. I have everything in the store scope except for those VCAs, so no matter what I do, they won't get stored in a weird position,” he elaborates. “Every time I go to a new scene, all the channel faders have moved to their preset positions and the VCA is reset back to zero. That is one reason why I can get away with fewer faders, because my VCA’s always reset.”