Originally Posted by audiosymmetry
I recently purchased a pair of KRK V8II's. For full range dynamic monitors, do these fit the bill at all? Also, I have a 10 x 10 square foot studio. How should I go about treating the wals if I wanna sound good in a club?
Well far from it!
This is a good question and probably useful for studio engineer stepping into live situation.
Studio and live mixing are quite different worlds.
Studio: clean setup, many takes for recording and you can rewind to mix it again. Two sequential jobs with many chances.
Live: non ideal and potentially hidden defaults setup. All is happening real time. Many job: tuning main audio system, often tuning and doing monitor mixes and satisfying audience with FOH mix. Only one chance per show in quite short time.
SCOPE OF WORK:
- Getting in early to identify club situation (prior phone call is good idea)
- Checking band wardrobe
- Tuning main audio system (some cabling issues, burnt speakers/drivers maybe)
- Preparing your console, insert cabling, compressor/gate and FX preset, basic gain preset and group assignments (non familiar equipment, not exactly high-end, some cabling issues)
- Tuning monitor speakers to have up to very loud monitoring without feedback (some cabling issues, burnt speakers/drivers maybe)
- Loading in instruments and setting up stage (identifying& solving problems such as ground loops humming)
- Getting complete stage setup done
- Preparing monitoring mixes
- Band comes in
- Sound check: performing FOH channels tuning & dynamics and rough mix in <15 minutes, getting band mixes about right in another 30 minutes
- Walking on stage to make sure musicians are comfortable and acoustic sound is balanced
- Band is done and walks off stage to prepare for diner
- Immediately solving remaining issues
- Crank up all mics and monitors to identify key feedback
So be ready to have to handle a very new situation which requires being methodic to prioritize problem solving from preventing the show happening.
it will require some diplomatic skills with the house engineer or any local audio person willing to help.
A) 2 audiences to satisfy: the artists on stage (monitoring) and the audience in the room (main PA system)
B) If you can hire an experienced monitor engineer to handle the sound on stage and please the musicians. Well if you have to do both FOH (front of house) and monitoring -- you will need to negotiate reasonable requests, as the task is specially difficult (especially without prior experience)
C) Avoid any feedback from stage monitors with open microphones (also valid from FOH system but meaning you are ear bleeding loud)
D) Live situation is about to have an audience having fun and enjoying the performance (not having the best sound actually) and making sure that musicians are happy on stage (if not they will screw the performance, the audience will not be happy and you will be the one to blame anyway)
E) Make sure the club owner still likes you at the end of show (selling tickets were OK and you did not blew up anything)
F) Just one notice: make sure things are safe (electrical power cable, rigged or hanged equipment, cabinet to not fall over … someone's foot or fingers)
1) Anyway bring your soldering iron, a Leatherman, a Petzl headlamp (to work in dark), spare connectors and spare fuses of different types ... and most precious aid: duct tape rolls
2) Live mixing is more about getting rid of problems (to reduce feedback risk), filtering off instruments to bare minimum (to reduce bleed from everywhere) and get somehow working live sound (with practice really good one)
3) Bring your own microphones if you can (they work, you know them, avoid high-end condensers)
4) The console will be your best friend (you have a great board with great preamp, EQ and lot of headroom … daydreaming) or worst enemy (it is precisely a beaten low cost club console featuring incredible amount of dust, drinks spill, and possibly leaving spiders)
Show went well: great! the audience was pleased, band also, nothing is broken (or not so expensive stuff anyway). You have been quite lucky...
Show went not so well: hopefully it was not something that could have been technically expected, band was not in the mood, audience did not show up (poor promotion, unknown style, etc.) or was not also in mood. Even a small audience can be a great one! Encourage your band: next show will be better. Energize your working crew: they did their best in given situation.
Learn from experience and be cool.
Being really professional is being cool, leaving ego at the door, focused on show happening well, working well with the local crew (they will remember if you were not particularly nice), being diplomatic with the band and show promoter and ... enjoy working on a great live show for the pleasure of the audience!