Robin Schulz live at the World Club Dome in Frankfurt with Crème and EQP-1

  • 06/20/2016
  • Michael Krusch
  • Story
  • EQP-1
  • Creme

From Dominik Piorr, Flip Toy Productions

As discussed I sent you some photos of Crème and EQP-1 in action with Robin Schulz at the World Club Dome in Frankfurt last weekend. Next weekend it’s off to the PinkPop Festival in Landgraaf (06/04/2016).

With Robin Schulz I usually only have 7 inputs (2x stereo L+R DJ Desk, 1x vocals Robin, 2x vocals Feat. Artist) on top a few effect returns.

Signal chain is as follows:

Channel 1 and 2= DJ main out L+R –> pro channel 1x Avalon VT737SP (as PreAmp with use of HPF, maybe slight equalizing, no compression) -> channel-strip SSl live 300 -at the WCD it was a sound craft Vi4– (at times EQ to correct) -> Tegeler Audio Manufactur Crème - inserted – (EQ high boost, first compression, EQ -> comp, HPF 120Hz)

Channel 3 and 4= DJ main out L+R copy -> channel-strip SSL live 300 -at the WCD it was a sound craft VI4– (HPF 220Hz, at times EQ to correct) -> Elysia nvelope -inserted– (transient shaping) -> SSL live 300 compressor or analog compressor (strong compression with high ratio, long attack time and fast release to compress the transients in the signal)

Channel 1 and 2 + channel 3 and 4 –> Master bus –> SSL G-Comp bus compressor -inserted– (glueing of all channels, light to medium compression, HPF 104Hz, long attack time, medium to long release time, discreet ratio) –> Tegeler Audio Manufactur EQP-1 (refreshing the signal in low and high freq. , broadband)

What was my experience with your hardware:

Creme

The elevation in the high band of the EQ was incredibly beautiful and was anything but intrusive. It gave the signal a soft freshness that was perfect for the next step. The compressor packs on, but not too hard. Unbelievable how attack and release time are so synchronized. For me it is important to use the compression as undetected as possible, and that is not a problem for this compressor at all. Nevertheless the vocals stand out and individual sounds take their place. What seems difficult on a big P.A., the arrangement of materials in a stereo bus in L+R stereo image, the Crème makes everything more beautiful, jet not to draw attention.

EQP-1

Often I use plug-ins like the Waves EQP-1A to put the cherry on top of the sum at the end. Since your EQP-1 took over that part I feel as though I used cheap toys with my plug-ins. No doubt I love Waves plug-ins and use them regularly in the studio, but what happens in your equipment is phenomenal. I also compared the EQP-1 to the replica of Warm Audio and even if it gets to the same level of esoteric, so smooth in the upper frequencies and full in low end, I have not heard from a Pultec style EQ. Especially when used live it really shows what it can do. The way I use this equipment everything comes forward and sits in your face and stomach without losing the offset in depth.

Conclusion

I am more that ecstatic and never thought it was possible for me to experience such a difference. The biggest complement is when audiosystemer, FoH supervisor and FoH engeneer witness the hardware being plugged in and stand mouth wide open in awe because they cannot explain what just happened.