LIVE SET - sending low end or kick & bass from outputs 3/4

hey all

appreciate any advice if you have experience with this.

Playing our first live show next weekend and i was suggested to send our low end separately to the FOH operator as every sound system and room is different.

Sending everything out of outputs 1/2 the balance sounds great on my monitors at home but im concerned at the venue the bass could be far too loud or quiet.

My thoughts are to send the main backing/instruments/pads from outputs 1/2 then using outputs 3/4 to send either the low end (perhaps 200hz and under) OR the kick and bass.

Giving the FOH operator more options to balance the sound if some songs bass is too much or too little.

Thankful for any feedback x

TY
GG

I would contact them and ask what they prefer. I’m assuming you can soundcheck before your gig?

I don't see why it shouldn't work. I think that differentiating tracks (i.e. kick and bass) would be more normal than just a sub channel. A live mixing engineer would have the tools to break out frequency bands anyway.

64hz wrote:I would contact them and ask what they prefer. I’m assuming you can soundcheck before your gig?

I’ve contacted them and they believe it’s the right move. yeah definitely sound checking so can chat it out then.

Koekepan wrote:I don't see why it shouldn't work. I think that differentiating tracks (i.e. kick and bass) would be more normal than just a sub channel. A live mixing engineer would have the tools to break out frequency bands anyway.

Yeah this is definitely the right move after further reflection.

I’ll drop a reply in here next week with results for people searching for similar topics in the future.

Thanks all for the replies.

FWIW and may not be relevant for this case, but I've sometimes used one dedicated output just for compressor sidechain, without mixing the signal to the final output. Kind of like what you can do with the Pumper plugin, but with outboard gear. I wonder if a live sound engineer would find that useful for mixing. It's like having the music's rhythm sync signal as a channel in the mixing desk. If it's just a one-off gig and a random sound guy, they probably don't want that sort of creative responsibility.