Start with the best-case scenario: the ideal mic placement for the best sound with the least possibility for mic bleed and feeback. With your input and monitor lists created ahead of time, you’ll be able to concentrate on setting up the stage on the day of the show. This is also the time to decide whether the monitors will be mixed from the front of house console or a dedicated monitor console. For each entry, include the type of monitor needed, who it’s for, its position on stage and its corresponding send on the console.
A thorough input list should also include which mic stand to use for each mic.Īfter creating the input list, create a monitor list detailing any stage monitors or in-ear monitors required. The main purpose of an input list is to keep track of all the microphones, line inputs and other sources necessary to capture a performance, as well as which console channels they’ll be assigned to. Once you’ve gathered all the information above, you can start laying out the foundational document that will dictate much of the setup from here on: the input list.
The period before the talent arrives at the venue is your chance to get everything set up and prepared at your own pace. Ensuring that the stereo image matches the stage layout is critical to creating a cohesive show.Įvery production consists of two distinct time frames. When the sound coming from the PA doesn’t match what the audience sees, this cognitive dissonance can detract from the experience. When everything fits neatly into the frequency spectrum and time domain without interfering with the other elements, your mix will sound richer and clearer. In an effective mix, every instrument, vocal and sound must have its own space. You can always improve the sound, but you need to start somewhere. At the most basic level, this means making sure every input is receiving a clear signal with no hum, noise or feedback. Before anything can sound amazing, everything has to sound good. The three pillars outlined below represent the fundamental elements of a good mix, and will inform every decision from here on. When working with unfamiliar acts multiple times a week, it’s not usually possible to develop a specific approach for each performance-especially with limited time to prepare. Assuming several known factors, such as the venue itself and a house PA system, these strategies provide a framework for approaching unfamiliar situations with confidence and achieving great sound-every time.
This blog will provide strategies for successfully navigating any kind of production, from the earliest stages of planning and paperwork all the way to soundcheck and showtime. From solo performers and jazz trios to larger chamber ensembles and theater troupes, the wide variety of possible formats and genres demands a flexible and efficient workflow to make each show a success with minimal prep time. Staff sound engineers at venues often have to accommodate wildly different types of acts each night, each with their own technical requirements and logistical challenges.