Originally Posted by Samc
There is no situation that makes it absolutely necessary to ring-out the wedges...in fact, if the stage volume is loud that is exactly when ringing-out hurts most.
The more you pull frequencies is the more you have to push the overall volume of the mix to be heard but with the other method you only pull what is absolutely necessary and by the amount that is necessary. Leaves you with more headroom and wiggle room frequency wise.
Thats just not true.
Wedges are such a compromised monitoring environment. Thats why we invented IEMs...
I have had lots of times where I've been brought in as an engineer, to an average venue, small stage, poor wedges, and an artist who insists on using his mic which is more prone to feedback, etc... And at that point, ringing out is completely necessary in order to achieve the volume they want, and have it not feedback.
Would I design the situation like that? Of course not. I'd use a more suitable mic and better quality wedges. Maybe even re-arrange the stage to improve the monitoring environment.
But often, we don't get the opportunity. The gig has to work. So off we go.
Maybe the issue here is semantics? What do you envisage by 'ringing out'? Doing it properly means:
1) Putting the mic in the 'in-use' position
2) Talking into it (or having someone talk into it - i'm looking at you backline tech...) and increasing the level in the wedge in order to reach the desired monitoring level
3) When it starts to feedback, leave it on the edge of ringing, and make the appropriate EQ change to remove the worst of the issue (don't cut a band by 12dB if you dont't have to!)
4) Keep increasing the level and repeating step 3, until you achieve the desired level.
Obviously if you can't get where you need to, then you have a mic/monitoring system design/setup fail. So i'm assuming you know what you are doing before you embark on this process.
The statement that the above process is never ever necessary, is clearly not true is it?