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  • #16
    I usually work with a separate FOH guy. After ringing out monitors (almost not needed anymore with digital boards (see other post). Can you say libraries :-), and setting some basic levels, I ask him to have some sort of basic mix out front during Sound check because the bleed from the FOH subs will almost always allow me to put less low end on stage (and that's a good thing).

    Sure in most cases the FOH will effect what the musicians hear so I try and include it as part of the monitor mix during sound check (not electronically - directly but by having the FOH ball parked).

    another .02 worth
    J.R. Previously jrble

    See my Dog Of The Hair studio at: http://www.dogoth.com/studio/

    Quote from someone: Flat response? Get out the jack and change the tire.
    If you think "power is knowledge", you have it backwards.

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    • #17
      Originally posted by Dogoth View Post
      ...I try and include it as part of the monitor mix during sound check
      Another school of thought worth mentioning; I tend to try and get the best monitor mix I can before introducing FOH into the mix. That way when some wedding coordinator/aging town official/random person in a position to make my life hell comes up and tells me to turn it down, it has much less of an effect on the monitors. Once you've got happy talent and a stellar monitor mix, adding FOH to it is just icing, barring any phase cancellation issues. It's why I like to travel with my own monitor system when I'm performing. No matter what happens out front, accidentally or intentionally, as long we can hear ourselves we stand a good chance of sounding like the mix is off worst case scenario rather than we can't sing on key. Just another way of looking at it I suppose.
      Last edited by trevcda; 07-23-2014, 01:55 PM.
      One more time kids; equalizers are not cross overs, vocal mics are not cymbal mics and pan knobs are not three position switches. As you were.

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      • #18
        Originally posted by trevcda View Post

        Another school of thought worth mentioning; I tend to try and get the best monitor mix I can before introducing FOH into the mix. That way when some wedding coordinator/aging town official/random person in a position to make my life hell comes up and tells me to turn it down, it has much less of an effect on the monitors. Once you've got happy talent and a stellar monitor mix, adding FOH to it is just icing, barring any phase cancellation issues. It's why I like to travel with my own monitor system when I'm performing. No matter what happens out front, accidentally or intentionally, as long we can hear ourselves we stand a good chance of sounding like the mix is off worst case scenario rather than we can't sing on key. Just another way of looking at it I suppose.
        I absolutely understand that and given the circumstances you're working with, I'd do the same. I just "try" and include some FOH while setting monitors. It doesn't always work out that way and I agree, a monitor mix must stand on it's own as you never know what might happen at FOH ;-). I've just found that if I can use less bottom on stage it can saves my rig from abuse and keeps down annoying bleed. I still have to provide a drum sub for some of the higher volume acts regardless (distant subs aren't the same as a pair of 18" kicking you in the butt :-).

        Yes in an open venue that's empty, what might be a reasonable performance level for FOH can seem loud to the uninitiated. The rule of thumb is "if you're too loud once, you'll always be too loud", so better to creep up on it (spl wise :-). I used to setup an open cabaret stage in a casino. Volume was always an issue. My advice to the bands was "start out with a ballad and work your way up depending on the crowd". It's always psychological as much as technical (Oh the many hats we audio guys must wear :-).

        Cheers
        J.R. Previously jrble

        See my Dog Of The Hair studio at: http://www.dogoth.com/studio/

        Quote from someone: Flat response? Get out the jack and change the tire.
        If you think "power is knowledge", you have it backwards.

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        • #19
          Originally posted by Dogoth View Post
          I've just found that if I can use less bottom on stage it can saves my rig from abuse and keeps down annoying bleed.
          Totally agree with the rig abuse. Or not abusing it anyway! I'm going to high pass my monitors, no matter what, so that's usually not an issue. I've only had a couple of people over the years even ask if I could lower the high pass frequency. I'm rarely too loud, but I can "look" too loud long before I turn anything on. Usually to someone who wants to know if I can "set up all those speaker things backstage somewhere so we don't have to look at them?". Yeah, that's actually happened more than once.

          t's funny how often "Stage Manager" is rolled in with the FOH tech title.
          One more time kids; equalizers are not cross overs, vocal mics are not cymbal mics and pan knobs are not three position switches. As you were.

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          • #20
            Originally posted by trevcda View Post
            It's funny how often "Stage Manager" is rolled in with the FOH tech title.
            Often you're the only organized one in the room. You don't last long in that line of work otherwise.

            My peeve is when the client hires a "day of planner". They spend the reception asking "what's next", despite being handed a full itinerary the first time they asked..... and it's the itinerary I developed with the client, and knew to bring extra copies of because nobody else in the room was going to have a clue what was going on. But the killer is that planner is making 2X or more what I'm getting for pre-planning, day of coordination, oh, yes..... and putting on a 3 1/2 hour performance with full production.
            Last edited by abzurd; 07-25-2014, 10:49 AM.
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