I've just received a live engineer job offer
- Thread starter ::XeS::
- Start date
The band of the release party just said me there will be the residential sound guy (but he sucks) so they want me for the headlining slot. I've only to adjust the mixer with my preset
digital delays with 3 ms can help to prevent feedback (never tried it out tho...)
i tune my monitorsystems like this : turn up the gain of mic 1 till feedback starts, use a graphic eq to find the frequency and turn that one down.
now you have way more "gain before feedback". never had any monitor feedbacks after doing that. but if there is no time for setting up its a pain...
pa mics most of the time donot feedback tho as there is (ideally) no direct connection...
i tune my monitorsystems like this : turn up the gain of mic 1 till feedback starts, use a graphic eq to find the frequency and turn that one down.
now you have way more "gain before feedback". never had any monitor feedbacks after doing that. but if there is no time for setting up its a pain...
pa mics most of the time donot feedback tho as there is (ideally) no direct connection...
kaomao
Member
Advice n1:
Take a brick wth you an thorow it a the assholes telling you what to do
Well over here we got fucked up venues so people don't complain too much about the sound guy, I don't know how's the situation in bologna though
Take a brick wth you an thorow it a the assholes telling you what to do
Well over here we got fucked up venues so people don't complain too much about the sound guy, I don't know how's the situation in bologna though
arv_foh
Brian K
hope that you have a 31 band graphic eq on where ever the signal is going, so you can just pull it right out... if you don't have one you will probably be on a super shitty mixer, and have 1 knob per channel with sweepable frequency, so find it there... 95% of the time it's vocal mics that cause it, but it can potentially be anything that is using a mic
and don't take in your profire2626 and macbook to mix... I would only do that if I was running like 4 channels max at a wedding or something, you just don't have the quick access to find what you need if shit starts going crazy, plus the house guy is going to hate you for having to set all that shit up for soundcheck, then tear it all down and set it up AGAIN before your band plays
arv_foh
Brian K
this pretty much says it all
and when people tell you how to do your job, I always retort with "Do I come into McDonald's and tell you how to flip burgers?"
that usually shuts them up pretty quick
Here too
Anyway the profire was in case there is no residential mixer. Don't know if it has a band eq, but I suppose it's a cheapy mixer.
I have to ask wich mixer they have so I can study a little it.
arv_foh
Brian K
Here too
Anyway the profire was in case there is no residential mixer. Don't know if it has a band eq, but I suppose it's a cheapy mixer.
I have to ask wich mixer they have so I can study a little it.
if you have to bring your own mixer you're probably getting yourself into a situation where you don't want to be... if a club can't afford a decent desk they're not gonna have a decent PA, but yeah call ahead if you can and find out what they've got, that's always a good idea
the sound guy for that club might not even suck, he just gets the blame for all the junk gear in there that sounds like shit
Yeah probably...the fact is that 2 weeks ago my friends Modern Age Slavery played into this club and they have their own sound guy, and the gig sounded really well.
I will check if he sucks or not
I will check if he sucks or not
DM 3rd eye
New Metal Member
Make sure you get in good with the in-house sound guy!! He could potentially be a little resentful of some "no-name" guy coming in and jumping his gig for the headliner. If you can, just try to work together as a team to make the gig successful. If he's been there for a while (and actually knows what he's doing) he should have a pretty good idea of the system and the weird nuances of the venue.
Sometimes the headliner is the only act to get a sound check and then the openers just have to deal with it on the fly. Which means that even if you get to soundcheck your band, everything you tweaked in will most likely get jacked up before it's even your turn to mix. Therefore, if you and the house guy work together, you won't be jumping into a mix you don't even recognize.
Hopefully they will have a dedicated 1/3 octave graphic EQ for each monitor mix, and as has been mentioned before, take some time to "ring out" each monitor mix for feedback frequencies. Start with the singers mix and do a thorough job ringing it out. If you get that one stable then just match up all the other EQ's and you should be good to go.
If you are forced to use the console strip EQ for monitor EQ, and you have enough channels to do it, you could actually split your vocals into two channels on the board. Use one channel for the house mix, and use the second channel just to send to the monitors. That way you have some independant EQ for House and Mons. If you're trying to do feedback suppression on just one channel, A) it'll be a pain in the ass, and B) the EQ settings for mons will probably make the vox sound like ass in your house mix.
I've been doing live sound for about 12 years, both FOH and MONS, so I know that these things should help you out.
Sometimes the headliner is the only act to get a sound check and then the openers just have to deal with it on the fly. Which means that even if you get to soundcheck your band, everything you tweaked in will most likely get jacked up before it's even your turn to mix. Therefore, if you and the house guy work together, you won't be jumping into a mix you don't even recognize.
Hopefully they will have a dedicated 1/3 octave graphic EQ for each monitor mix, and as has been mentioned before, take some time to "ring out" each monitor mix for feedback frequencies. Start with the singers mix and do a thorough job ringing it out. If you get that one stable then just match up all the other EQ's and you should be good to go.
If you are forced to use the console strip EQ for monitor EQ, and you have enough channels to do it, you could actually split your vocals into two channels on the board. Use one channel for the house mix, and use the second channel just to send to the monitors. That way you have some independant EQ for House and Mons. If you're trying to do feedback suppression on just one channel, A) it'll be a pain in the ass, and B) the EQ settings for mons will probably make the vox sound like ass in your house mix.
I've been doing live sound for about 12 years, both FOH and MONS, so I know that these things should help you out.
TheDude
Jocke Skog
Here's what you have to do: Do an album mix, in less than half an hour, but you'll have to mix it completely different than an album mix. During that half hour, you have to fight the fact that mics are patched into the wrong channels (kick on channel 13 next the vocals and the bass? WTF?), the EQ on the desk doesn't let you do what you want and the band are whining about "maybe some more vocals in my monitor. Not THAT loud! No, louder!" And the feedback comes. Then the bass player kicks the mic stand so the guitar sounds like it's low passed at 200Hz.
Great fun! Good luck!
Great fun! Good luck!
DM 3rd eye
New Metal Member
Trevoire520
Member
That is one hell of a good tip. I'll remember that next time I have to do sound without EQ's for monitors.
xconnyx
www.iheartsound.com
do not compress the split channel for monitors. use less gain more send instead.
btw, i would consider everything over 1200ppl venues as not beeing a small venue. everything else is just blending sounds in. mixing starts in real good treated venues at 600ppl or from 1200 on if not or not so well treated rooms. "big" for me starts at 4000 and ends up on festivals with 25000ppl in front of the stage. biggest indoor foh mix i did was in front of 14000ppl in a 19000seater.
xconnyx
www.iheartsound.com
that is a good one.
ppl that try to tell you how to do your job is pretty often. this includes house engineers telling you that you wont need overheads even if they are totally not aware of what is about to happen on stage when the band is playing. i once had a swing band on tour. most of the sound came through the overheads since that drummer was a real drummer. i once got another sound guy in front of stage to tell me how much and which mics if been using for the drummer right now while sound check. the whole kit was rigged up with all the mics. he said everything not gated but overheads. he was totally wrong. just one overhead and that drummer sounded amazing. i just blend in the rest of the mics when the rest of the band came in it got a little too messy without those close mics.
but even the management of the band can try to tell you how to do your job right even if the band and everybody else is totally satisfied. they just want you to give the band that little extra... of course this little extra is more or less depending on the artist... this is even more annoying if you ask me, because these can be the guys that pay you in the end.
Ok guys, this is the mixer of the release party's venue
http://data.yamaha.jp/sdb/product/i...fx/71F7DCDFE2944281A8327C4F859C4123_12073.jpg
Pretty basic Yamaha mixer
http://data.yamaha.jp/sdb/product/i...fx/71F7DCDFE2944281A8327C4F859C4123_12073.jpg
Pretty basic Yamaha mixer
But I'm not sure...because this one have a multi fx processor.
It's a yamaha mixer for sure, 24+ channel, not sure it's the one I posted
It's a yamaha mixer for sure, 24+ channel, not sure it's the one I posted
