Got myself into a FOH mess :P

[Torniojaws]

Okay, we have a gig coming up in 2 months, but the catch is that there might not be a FOH guy available. So I will have to do it myself And of course I've never done that before Sound-wise I think I can cope, but there's some practical issues since I will be playing on stage

If/when the vocal mic starts to feedback uncontrollably, is it safe to just unplug the mic (probably a 57) from the XLR cable? Or will there be an earthshaking explosion in the PA?

And how can I make as sure as possible that there won't be feedback? Just EQ sweep before the show with the mic as close to the monitors as I believe the vocalist will be, and do some ridiculous cuts on those frequencies that do feedback? And how about the effect-side cures: gate? comp? Luckily the vocalist is quite loud, though.

The drums and electronics + bass and support guitar will come from backing tracks, so there's a little bit less danger of feedback. We will not be doing live reamping, as usual, since the venue doesn't have any backline available (just the console + PA, and some FX), and there are no other bands, and I only have a smart car to lug gear with

 

[VH100R]

its a trap!

go for it... and good luck

 

[mick thompson]

you could gate the vocal mic (not too harsh though) and roll off the feed-backing frequency on a 31 band eq but not too much that you make a clear missing frequency in the mix

 

[arv_foh]

And how can I make as sure as possible that there won't be feedback? Just EQ sweep before the show with the mic as close to the monitors as I believe the vocalist will be, and do some ridiculous cuts on those frequencies that do feedback? And how about the effect-side cures: gate? comp? Luckily the vocalist is quite loud, though.

Yes, this. Sweep out all the frequencies that cause feedback, both in the monitors and from FOH.

I usually compress vocals, and I would NOT recommend gating them. This does not work, and you risk chopping off the vocals. If the vocal mic is feeding back, the feedback will keep the gate open anyways. Solve the problem at the source. I would also recommend a 58 over a 57, but a 57 will work if that's all you have.

Typical feedback frequencies from a mic cupper are around 1.25k-1.6k. If the singer doesn't cup then worry about 2.5k, and depending on the monitors you may have problems with 4k-6.3k. These are not be all end all frequencies; it will vary with every single system you use. Sometimes I have problems with 500 too.

 

[arv_foh]

Also, a bunch of good tips in this thread

http://www.ultimatemetal.com/forum/production-tips/529633-mixing-metal-band-live-situation.html

I don't know how familiar you are with identifying frequencies but if you have trouble, boost frequencies on the graph until you find the ones that feed back, then pull those frequencies down.

 

[ahjteam]

you could gate the vocal mic

I tried gating the vocal mic when I was starting mixing FOH. Stopped after the second gig. Wouldn't recommend it.

If/when the vocal mic starts to feedback uncontrollably, is it safe to just unplug the mic (probably a 57) from the XLR cable? Or will there be an earthshaking explosion in the PA?

I wouldn't recommend pulling the plug either, if the mixer is cheap (like Behringer, Mackie, Alto...) and only has the global phantom power, it most likely will give you a nice loud bang from the speakers if it is on. In the moment of panic if the mixer is on the stage, drop the gain. if it is not try to move the mic until it doesn't feedback. Otherwise try to eliminate the feedback on the soundcheck

 

[Torniojaws]

I believe they have this board: http://www.thomann.de/fi/soundcraftspirit_m12.htm

Here's what I intend to run in:

Ch 1 - Kick (pre-triggered, backing track)
Ch 2 - Snare (backing track)
Ch 3 - OH (backing track)
Ch 4 - Toms (backing track)
Ch 5 - Support guitar (pre-recorded backing track)
Ch 6 - Synths/FX (backing track)
Ch 7 - Bass (pre-recorded DI)
Ch 8 - Real guitar (miced Engl Powerball + Engl 2x12", V30, SM57)
Ch 9 - Vocals (57, 58?)

I'll use this chance to record a soundboard recording too Should be fun!

And I guess I'll angle the guitar cab to face away from the audience.

 

[xconnyx]

"less gain more send" is always a good thing to prevent feedback since you'll get more headroom this way. speaking of headroom, don't apply compression on vocals you will have feedback earlier if using compressors.

if there is a need for comps split vocal channels use one for monitors and one for pa. this way you can try to eliminate feedback frequencies through the channel eq in the monitor channel strip.

also if comps used, use the comp in a group bus so you wont send compressed signals to monitors.

 

[ahjteam]

I believe they have this board: http://www.thomann.de/fi/soundcraftspirit_m12.htm

Here's what I intend to run in:

Ch 1 - Kick (pre-triggered, backing track)
Ch 2 - Snare (backing track)
Ch 3 - OH (backing track)
Ch 4 - Toms (backing track)
Ch 5 - Support guitar (pre-recorded backing track)
Ch 6 - Synths/FX (backing track)
Ch 7 - Bass (pre-recorded DI)
Ch 8 - Real guitar (miced Engl Powerball + Engl 2x12", V30, SM57)
Ch 9 - Vocals (57, 58?)

I'll use this chance to record a soundboard recording too Should be fun!

And I guess I'll angle the guitar cab to face away from the audience.

I would rather put:

1 kick
2 snare
3-4 toms and oh (stereo)
5 bass
6 gtr
7-8 syns and fx (stereo)
9 real gtr
10 vox

OR:

1-2 backing tracks (stereo)
3 real gtr
4 vox


it's your call

 

[if6was9]

You shouldn't have problems with feedback-you're not playing with anything like real drums so if your mic is feeding back just turn everything down so that it doesn't.
In a situation like yours there's no instrument that can't be turned down below a certain level so you really shouldn't have to push it feedback point.

I'd also go with what Ahjteam said- go for 1-2 backing track for yourself instead. if you need to do any tweaking then you can do it in the daw before hand. you won't be able to hear what the changes in sound are like during the gig anyways so you won't know if the kick needs to come down a hair in a certain section or anything, you might as well make life easy for yourself and just go with a stereo L&R for your backings

 

[ahjteam]

and you can actually do it like this too:

1-2 backing tracks
3 mono mix for monitor feed of backing tracks
4 gtr
5 vox

 

[Torniojaws]

I've always had the impression that more is better That way you have more control to adjust the sounds for the venue, and it's probably easier at the desk than on the DAW on stage

But I'll give the single stereo mix a shot, and see how it goes. Then do the usual multichan mix if needed.

 

[if6was9]

It's better to have more if you've someone to control it, but if you're doing it yourself then the less hassle the better really.

 

[Torniojaws]

Well, it was yesterday and luckily the place had a FOH guy But it was quite difficult to play since there were no monitor speakers I had a fucker of a time trying to keep up with the music when half the time I couldn't hear a thing

We actually recorded the whole ordeal, and you can get it here: http://www.vortechmusic.com/raahelive (43 MB) (9 tracks)

Oh and in the end, I went with just two mono backing tracks: one with the drums, and a second one with synths/fx/etc.

I used a split box to record my guitar (DI) and I took the vocals from the snake aux. The FOH guy put drums there too, and I didn't notice, so the vocals get buried sometimes in the recording above, as I can't comp the vox