monitors

[dfinn]

Hiya,

 

Its coming up to my second band gig at my school, the last one was a great success and I'm really looking forward to it. However the only thing I had trouble with last time was the monitors because I had to run the lot off 1 channel.

 

Now I have the correct leads I can run them how they should be run which is in 2 sets of 2 (1 active linked to 1 passive). I intend to put three at the front of the stage for singer, lead guitar and bass and then one at the side of the drums for the drummer.

 

What I need to know is:

 

1) How would you pair them up? e.g. singer and lead on one and bass and drums on the other? Is this right or is there a better combination.

 

2) What mix would you put through either set? Do you put a small amount of everything in and then a bit more of whoevers using the monitor e.g. for the singer and leads wedges have a small mix of everything but with more lead and singer? Or do you do it another way?

 

I'm only a newbie trying my best so I'm sorry if these questions are a bit blatantly obvious to some.

 

Thanks

 

Daniel

[Mr.Si]

If I only had 2 monitor mixes,

 

I'd give bass n drums one mix, and the vocals and lead the other mix.

 

As for what to put through them, that's upto the band members, as to what they want.

 

In church situations, it tends to be just vox and rythmn that is wanted, but during bigger events and festivals etc, I find drummers want themselves in their own drum fills etc.

 

so your trick here, is to ask the band what they want.

If the band are not happy with hearing themselves, they won't perform as well as they could, and in turn, the audience won't enjoy the gig/event as much.

 

Therefore, monitors are the most important thing - you serve the band first and foremost. That is what I have been told, and I think it is so so so true.

 

Si

[dfinn]

Hi,

 

Thanks, I will most likely get our school to let me ring them up to ask for there requirements. I want to get the monitors right this time as last time they were pretty awful.

 

Whilst this topic is here what sort of balance do you look for in a band mix of say 1 bass, 2 electrics and a drum kit and say 2 or 3 vocals? Do you keep the drums quite low but still distinguishable. Would you keep vocals and electrics at the same level along with bass or give vocals a bit more? Or is it easier to judge better when you're there doing the sound check?

 

Thanks

 

Daniel

[James]

1) How would you pair them up? e.g. singer and lead on one and bass and drums on the other? Is this right or is there a better combination.

<{POST_SNAPBACK}>

 

 

There is no "right" answer as it depends on the band.

 

Talk to them about what they want, then decide if three across the front is right.

 

If you have many bands sharing monitors though it is a good idea as it gets them out of the way. If you only have one band then it doesn't make sense not to put them where the band wants them.

 

2) What mix would you put through either set? Do you put a small amount of everything in and then a bit more of whoevers using the monitor e.g. for the singer and leads wedges have a small mix of everything but with more lead and singer? Or do you do it another way?

<{POST_SNAPBACK}>

 

I would not know what mix to put through each set without talking to the bands.

 

I have one singer who hates to hear the sound of his own voice,

 

I have a drummer that only wants vocals.

 

I have another drummer that doesn't care for vocals but only wants drums and bass.

 

Talk to them and be open Explain that you have four wedges on two mixes and they would have to share. Then ask them how they want them, they may well go for vocals on one pair and instruments on another but be prepared for anything else.

 

Then ask them as a pair what they would like in them, get them to sort it out between themselves if there are any problems.

 

I'm only a newbie trying my best so I'm sorry if these questions are a bit blatantly obvious to some.

<{POST_SNAPBACK}>

 

Daniel, these are not obvious questions but they will be things you learn. Just don't be surprised if the band ask for something you don't expect and be prepared. Don't make any decisions for the band.

 

James

 

Oh and remember that the more you put through the wedges, the higher the stage level will be, they will turn up to compensate which only goes to make your job at FOH more difficult. You might find it easier on yourself to try to keep a lid on things a little.

[dfinn]

Hi,

 

Thanks James, I will ask the bands as soon as possible what they want and then go from there.

 

Thanks

 

Daniel

[paulears]

Be wary about asking the band, sometimes their demands are very difficult to achieve.

 

Here's an example of what happens when you ask....

 

http://www.eastanglianradio.com/monitor.jpg

 

needless to say, even though they each had a separate monitor with no sharing, the end result of what went to each one bore no resemblance to the list at all!

Paul

[dfinn]

** laughs out loud ** I see your point. However I do not supply any instruments or amplifiers. I would only ask them what monitor mix thay wanted out of whats available and also how many mics they need and what they want micing/ D.I.ing.

 

Thanks

 

Daniel

[paulears]

Yep, that's fine - trouble with non-experienced bands is that they don't actually know what they want. Your idea of sharing bass & drums is always a sound one when you have limited channels.

[dfinn]

Well this band gig is different to the last one.

 

The last one has all our amateur younger school bands.

 

However this one is a 5 - 6 hour band day in which more experienced bands of different kinds come in for the day and do say 30 minute slots each with a mix of about 4 or 5 bands.

 

I find that if you get a band which are easier to work with you can make the sound much better as the ones who are awkward just make our lives much harder and as a result cause a lack in quality of my work.

 

I am planning ahead down to a fine detail even though its only a small show but with 3 or 4 of us working on it it should get done in plenty of time and get done safely and to a high standard.

 

Thanks,

 

Daniel

[gnomatron]

Given the number of bands, it might be best to force some of them to compromise. The headliner should take priority, then accomodate everyone else as best you can around what they want. Don't expect your plans to bear much resemblance to what happens on the day, but make them anyway, they'll be useful.

[dfinn]

Hi,

 

I think the best thing to do is to get each bands requirements and then plan as best I can in order to meet as many of their requirements as possible but obviously some I wont be able to meet.

 

As to my plans going to what happens on the day as there are only 3 or 4 of us rigging I have produced an individual plan for each person so that the rigging process runs smoothly for example sound set up their operating area whilst Lighting rig onstage from the tower so once they are done sound can move onto the stage to rig mics and wedges whilst lighting start on FOh rigging.

 

probably wont completely go to plan but the idea is there for them to follow.

 

Thanks

 

Daniel

[Just Some Bloke]

In this situation where you have lots of bands all of whom are relatively inexperienced and may not be sure what works best for them, I'd set the relevant Aux master to 8 and all the relevant channel aux sends to 5 - thus giving an even mix of everything. You can be sure that as soon as they start sound checking, they'll start telling you what they need more or less of.

 

The only exception to this would be with the drum kit. On a large stage I'd only put kick and snare through the monitors and on a small stage I wouldn't put any kit through the monitors because they'll all be standing right in front of the kit and will have no problem hearing the d*mn thing!

 

You will find, however, that certain trends start to come through: firstly the bass player will need to hear the kick drum and vice versa; secondly the singers will need to hear themselves and rhythm guitar or keyboard playing chords, so they can stay in tune.

 

Other than that just one more tip. If you've got the lead vocalist's mic as high as it will go into his/her own monitor and they still want more, try taking something else out (leaving something playing the chords as mentioned above). The less you have in a monitor the easier it is to hear what's left. If all else fails, try a little DFA!

[Simon Lewis]

I must admit I go the other way with inexperienced bands...

 

Knowing that their requirement is usually "a bit of everything, but make me louder than the rest", I set the vocal mics to be 'audible' then only turn up backline if absolutely necessary. Many bands practice without foldback, so can play quite well without;-)

[J Pearce]

On a small(ish) stage typical of most secondary schools I usually just run vocals through the monitors and let the band use their backline for instrument foldback.

 

Sensible setting up on stage means guitarist is closer to his amp than anyone else so he gets everyone plus him a bit louder.

 

One point with inexperienced bands is to watch the level of the guitar amps, many guitarists set everything to 11, which helps no-one. If you get that situation point out your only purpose is to make them sound good and suggest backline levels.

I usually set everything low and work it up if I need more.

Gives the poor unamplified drummer a chance too.

[Chris_R]

Also it might help if you tilt the guitar amps towards the player's head (instead of their knees) as they will hear it better and might not need it as load (notice the might - certainly no guarantees :) !!).

Hope this helps!