Mixing Monitors Panel PLASA London 2015
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- Опубликовано: 4 окт 2024
- The monitor engineer is the interface between the artist and the technology - a panel of experienced monitor engineers discuss this and much more.
Subjects covered in the panel discussion include virtual sound checks and what use they have for a monitor engineer, using technology such as iPad mixing and whether allowing the band to mix their own monitors will put engineers out of work, the role of the monitor engineer as support system, in ear monitors, wedges and combinations of the two, the reality of “easy to swap” show files being not so easy to swap, dealing with artistic temperament, building trust and communication on stage.
Tuomo Tolonen weighs in when the discussion turns to RF - bandwidth, frequency coordination, using frequency scanners and the current (and future) problems with bandwidth.
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I love this stuff! Please do keep 'em coming!
We will! There's more over on the Soulsound website too.
It's not lazy to use Click tracks and backing tracks. It's actually a lot harder to get a band to play perfectly in sync with backing tracks. Especially if there are percussion instruments recorded on the backing. It's amazingly revealing if any musician has por time and groove skills.
ALL OF THESE VIDEOS ARE SOLID GOLD~~~~
TastyTendrils o
This is hilarious 6 yrs later... tech ftw
Well, Mr. Rob Allan sound man for Massive Attack has great things to say about virtual soundchecks since the band has a chance to go to FOH and hear themselves from a crowd's perspective. These gentlemen pass the impression of being old and bitter professionals that probably have been doing their stuff for too long. IMHO
The way I do virtual sound check is, soundcheck and then I get the mix in the ball park and then line check to make sure it matches. If it doesn't match I re-eq channels
My only concern here is that who is the audience for this discussion? The stark reality is that 99.99% of us are playing in a band in a local venue and don't have the luxury of a monitor mixer so all the wonderful things like iPad mixing are fantastic t us! I was hoping for more of a practical discussion of how to achieve better results with whatever we have!
Wireless sound production sounds good in theory and looks good on paper. But none of that means a hill of beans come show time.
In 41+ years of performing live in every type of venue across different genres of music using widely varying sound systems and sound technician arrangements, I've learned MANY things. And I'm still learning. But by and large, I've learned that while innovation is good and necessary, getting the job done is paramount. Therefore, I stick with gear, methods, and approaches that I've learned through experience I can rely heavily on to perform for me on a regular basis.
My current three piece band utilizes wireless guitar and bass systems and wireless IEMs, all of which operate at 2.4ghz. We also have remote tablet control of FOH and individual tablet control of IEMs for bassist and drummer, all operating on 5ghz but, the associated wifi modem transmits simultaneously at 2.4ghz also.
Our systems are not top of line professional touring rigs with licensed frequency ranges, but they are much higher quality than most other club bands in our region carry. They are ALL supposed to be capable of eliminating or avoiding interference and dropouts via their proprietary circuit designs. They do not.
The fact is, in todays world there is scarcely a person in any audience who isn't carrying a smart phone or other device. Furthermore, EVERY venue has one, two, or many wifi systems operating inside.
This simply is NOT an environment where wireless technology can be relied upon for reliable sound reproduction. Therefore, I still have the digital mixing console beside me onstage while performing as a safeguard to ensure control of FOH and auxes if/when wireless control goes down.
I just purchased supplemental DMX lighting gear and decided then to also move away from wireless lighting control, which has failed multiple times at EVERY show I've used it on. From here on, I'll use wired DMX.
Call me closed minded.
Call me old fashioned.
But call me and I'll give you an uninterrupted show from start to finish even though it does require more effort on my part.
i would like to know the daily rate for these gents in the UK. thanks!. you don't have to match the name with an amount. a lot of techs here in the US have a rate of 250-300 dollars per day.
It's fairly similar here, but varies massively from gig to gig.
thanks Darryn. some would think that's a lot of money. WE know it's not!.
Indeed we certainly do know it's not! Especially in the lean months... January in the UK is a really dead time for work. It's also when self employed tax is due and it's just after December which is effectively only a three week month, and a very expensive time!
for sure. buds of mine in the biz tend to play a lot of video games in the winter here!. what is your take on psycho-acoustics?. you can friend me on facebook if you wish. thanks!.
1250hz is a little hot on the headset mics if you could take that down a notch thanks