Live Monitoring Question

[BruPri]

I do FOH and in large venues, there is usually a splitter snake that feeds FOH and monitor mixer. So the latter is probably the case, you get the mics directly into your console then can set gain, eq faders then matrix them out to each monitor mix. Usually you have a monitor wedge that you can listen to each mix on. Sounds fun! Does this band use IEMs?

[Jim Kerr]

As you put - it every thing rough. The Channels are split between you and FOH and so-on unless there is something on the cheap but if it is a big gig then monitors are independently dedicated. You will have your own gain and EQ and you will probably send your channels to your monitors via AUX sends ie. Aux 1 = Drum fill, Aux 2 = SR mix, Aux 3 Center and so on. Have fun, its the only way to do it.

[jamsmith]

You have a splitter. Sometimes its standalone, but usually it built into the monitor board. The stage mics get plugged into the monitor board and then back out to the snake to front of house. The mixes are completely independant. If they aren't using in-ear, I suggest if possible that you get the same wedge they have on stage and monitor off of that. You are then hearing what they are hearing. Its the toughest gig you will ever have; FOH is doing one mix and you are in charge of it. Monitors you are doing 3-8 mixes and each mix is under the demand the musicians, they are in charge.

The biggest challenge is to EQ all the channels and the mix them for each person on stage. If one guys want more beef on the kick, you have a problem. You have turn up the EQ on the kick and then probably turn the kick back down on the other mixes to compensate. You may get away with adjusting the graphic eq for that mix, but then you have feedback concerns - lord oh lord! Its a juggling act. Then you get the guy who can't be pleased and he is making faces and uncomprehensible hand signals all night. If FOH sucks, you most likely won't hear a thing about it even if 10,000 fans aren't happy with it. But one guy on stage who doesn't like what you did may tell you that you have ruined his whole career!

A pro tip: if they aren't prima donnas with "fidelity", pulling out every thing below 200 on the graphics will make the system go a lot farther. Foghat guys showed me that one. No rhyme or reason to any of it. I did Leon Russell once. He brought his own monitors, took me 2 minutes to get his bassist happy, then spent 45 minutes trying to please his Nigerian gourd player!

[Jim Kerr]

Originally Posted by IzzyRock

Hello Folks,
I wanna make sure I know what im doing cause I aint asking that there tutt dfegad

Thanks!

You should also have 31 band graphs inserted on each aux send (each mix). Generally they are for reducing a frequency prone to feedback.

[Jim Kerr]

Originally Posted by jamsmith

A pro tip: if they aren't prima donnas with "fidelity", pulling out every thing below 200 on the graphics will make the system go a lot farther. Foghat guys showed me that one. No rhyme or reason to any of it. I did Leon Russell once. He brought his own monitors, took me 2 minutes to get his bassist happy, then spent 45 minutes trying to please his Nigerian gourd player!

Yup!


or
Shoot your self. ha, just kidding of course.

One important thing is that it will sound different when the house is on. Reminding the band of that helps. Like Jamsmith said you wont need anything below 200 on the graphs except for the drum fill. You'll have plenty of low end from FOH.

[IzzyRock]

Thanks a lot guys !!

One more question.
If im getting rough signals then. Do i have to do a "separate soundcheck" ? Cause I can't be sending a boxy kick drum to the guys, and most likely, the FOH engineer will have most of the time for "his" soundcheck.
How do you deal with each mic eq then without being a pain in the ass? Just mixing it while FOH soundcheck?

[George Necola]

normally you dont have time for this.

you make "your" stage soundcheck while the FOH guy is asking for kickdrum, snaredrum, bass..

you set the levels then. you really need to have a wedge in the back or at the side of you,so you can hear what the musicians hear.

you have to be superfast.. that is based on experience. so, you might **** it up the first time (I did **** it up 10 times or so).

cheers

[IzzyRock]

K. No prob I've done several FOH sound (even in the most painfull situations) so I think i got my speed skills done

I really dont kno if they are using IEMs, but I doubt it.

I'm done with the topic. However, if any of you want to share or give me any nice advice you are all welcome !! (Thanks for the 200khz one)


By the way, its for the opening act for Dream Theater concert (20k+ people )

[tINY]

If you have sidefills available, use them for universal monitoring (like drums and bass).

Don't add anything that isn't specifically asked for - there will be a lot of bleed on stage anyway.

The pros are easy - they know what they want and can live with a real rough mix of everything else. It's the large regional bands who never had more than two channels that are the biggest pains in the a$$.

Welcome to hell...




-tINY

[George Necola]

Originally Posted by IzzyRock

K. No prob I've done several FOH sound (even in the most painfull situations) so I think i got my speed skills done

I really dont kno if they are using IEMs, but I doubt it.

I'm done with the topic. However, if any of you want to share or give me any nice advice you are all welcome !! (Thanks for the 200khz one)


By the way, its for the opening act for Dream Theater concert (20k+ people )

I mixed a lot of openairs, FOH and stage.. and you won't believe me.. my PITA was the stagesound.. everytime.. 40k people maximum FOH, 9 people on stage.. the 9 people were maximum pain.. :D