Set the volumes of your main fader and sends using pre-recorded music as a level reference, walking on stage to personally check that each monitor is working and numbered correctly with matching output levels. Next, make sure the monitor sends are configured to pre-fader so adjustments can be made to the main mix, while the monitor mix remains at a consistent level. To complete the basic monitor setup, place each monitor wedge 180 degrees off-axis to the nearest vocal microphone to acoustically reject feedback. Using a pre-fade aux send, the signal is sent through a graphic EQ to remove feedback-prone frequencies, (we’ll cover this in the second part of this series) before it ultimately hits the amplifier and comes through the stage monitor wedge. The number of separate monitor mixes is dependent on the number of auxiliary sends on your console and you’ll probably want to keep one or two post fader aux sends open for reverb FX.īoards with at least six aux sends are ideal, allowing for four pre-fade monitor mixes and two post-fade FX sends. If the channel fader for each input is used to adjust the main FOH mix, then how do you send different mixes to the monitors? An auxiliary send is a separate bus that allows you to sum multiple channels to one monitor mix or FX device. Powered floor monitors like the JBL Eon Series integrate the amp into the speaker enclosure.
First, you need a microphone (or DI) on stage feeding an input on your mixing console.
Let’s trace the necessary steps in the signal path from the source to the wedge. Technical Setupįor simplicity, the following steps assume that you’ll be mixing a standard four-piece rock band on monitor wedges from the FOH mixing board, but these techniques can be applied to larger or smaller setups. Let’s look at some techniques that can help you streamline the process and deliver the best possible mixes for both the performers and the audience. But in smaller clubs and venues, it’s common for the monitors to be mixed by a single engineer who’s simultaneously mixing front-of-house on the same console.įor new engineers and seasoned veterans alike, managing both the FOH and monitor mixes can be challenging-even on a good day. Bigger tours and national acts typically employ a full-time monitor engineer, who mixes on a dedicated monitor console on stage to facilitate communication between the engineer and band. And for the performers to hear themselves, venues provide on-stage wedge monitors to project a specially tailored monitor mix that can be adjusted to each musician’s liking. At most venues, the stage is usually located behind the PA speakers. Many wedge monitors are passive, which means they need to be driven by an external amplifier, such as the Crown XLS Series.įirst, let’s explore some monitor mixing basics.
0 kommentar(er)
