I recently watched an interview with master FOH engineer Dave Natale by YouTube influencer/producer/educator/engineer Rick Beato (www.plsn.me/FOH-Dec2024) in which Dave explains how he sets his graphic equalizer for his front of house mix. For those who are unacquainted with him, Dave Natale is an award-winning engineer who has mixed the likes of Tina Turner, Joe Cocker, Stevie Nicks, Jeff Beck and many more. Currently, he is the FOH engineer for The Rolling Stones and has held the position since 2005.
The way Dave sets his graphic EQ is a bit controversial, and he even offers a disclaimer in the video for anyone who might want to copy his curve. Over the 25 years that I have been writing this column, I have often written about gain structure and how to optimize one’s mix. While I think I have gain structure figured out, I have frequently watched engineers utilize techniques that I am certain will end in chaos — only to be surprised at how good their mix actually sounds. So much for my expertise, because in the end — it doesn’t matter how one gets there as long as it sounds good.
While there are correct techniques that should be employed by an audio engineer, the final judgement is in the mix itself, and the final mix is dependent upon what the engineer is able to bring to the table in regard to not only technique but “feel” as well. Yes, I said “feel,” because one’s audio system is an instrument, much like any other musical instrument, and that intangible “feel” does matter. Similar to a guitar or set of drums where the parameters of the instruments may be the same, they do sound different in the hands of the various musicians who play them. Granted, similar techniques are involved, but while these techniques can be analyzed, there is the intangible that each player brings to the instrument. This is why Jeff Beck has a dissimilar sound to Eric Clapton and top drummers Vinnie Colaiuta and Steve Gadd, both of whom have great technique, bring an individual “feel” to their instruments.
Validation
The Beato interview with Dave Natale seems to validate this point. Dave even warns against using his technique, as his style of mixing comes from “45 years of fooling around.” Dave talks about removing the problem frequencies such as 160 Hz and 2.5k that add mud and pain to a mix. While removing said frequencies is well known among experienced engineers, his approach is little different, and this spiked my curiosity, since gain structure is a multi-faceted organism. Dave prefers mixing on analog consoles, and his curve and approach remind me of my analog days when a smiley face graphic was an accepted norm.
That said, I reached out to Dave with a few technical questions since “feel” questions are a bit abstract, and he was more than accommodating. The only answer he gave that was a bit vague was to the question of how he sets his individual channels, but my question itself was a bit vague. So, while I missed that mark, I do believe he responds to that same query in the Beato interview for a bit of clarification. Below is my communication and informal interview with Dave Natale.
Baker Lee: What kind of speakers do you use, and do they have a crossover that you can access? if you use a crossover, do you turn down fields from there?
Dave Natale: I use Clair Brothers Audio I-5’s with the I-5B cabinets. Yes, there is a crossover program preset for these particular cabinets that was designed by the engineers at the company and is installed on the Lake Controller. There is a mountain of parameters that are user accessible and changes to these parameters can be made by the end user. I believe, although I am not 100% certain, that the crossover program is designed to start with all of bandpass outputs set to the gains in the preset, when the program is recalled.
Do you mix straight left and right or do you use VCAs or subgroups?
I assign all of the channels directly to the stereo bus (but I do not pan anything). I do use VCA subgroups, because sometimes I like to grab one fader and turn a bunch of stuff up and / or down. That is not to say that I do this on a regular basis, but this approach does afford me the ability to do so, if I feel the need.
Do you do a fader mix or do you mix with all faders at unity?
I can start any show that I do with the faders more or less at unity without the danger of anything leaping out and scaring people, but the second the show starts, I am riding stuff all night long. Recently, Danny Abelson did an article on the tour for the July 2024 issue of FRONT of HOUSE. I think that he mentioned to me that he had filmed my hands doing a song or part of the show. (I am not sure of this, and I have never seen the video). I have, from time to time, worn out certain faders (lead vocal channel, guitar input channels and drum submit faders on the console) from excessive, repeated movement.
I’ve worked with many engineers that make a unique style of mixing work, and it always interests me as to how they do it. There is no arguing that you make it work and have been for many years, and I would be honored if you would share some of the other techniques you employ in making your specific EQ work so well.
I am not really good at just coming up with topics and explanations of them, as this stuff just happens without any conscious thought from me after so many years. I have no problem whatsoever with you printing any/all of this stuff. There are no secrets here. Just because I divulge any info or even pictures of my EQ curve does not mean that anyone can replicate what I am doing, and I will not be in danger of losing any of my dwindling numbers of clients (currently 2).
The reason that I am such good friends and a huge fan of Rick Beato is because he is an educator. I really wish that I would have had access to the info that he puts out on the internet when I was coming up. So if you print anything that I have to say and it helps one guy… great!
Catch up with Rick Beato’s 1,600+ videos about music and industry professionals at www.youtube.com/@RickBeato/videos
