Live Sound: Monitor Mixing Technology
Abstract (summary)
A brief
overview is provided of new monitor mixing
technology that puts the power into the performer's hands at a real-world
price. Products include: (1) wireless in ear monitors (IEM) which, when
combined with an inexpensive rack-mount mixer at stage-side, can give each
performer a custom mix while lowering stage volume; (2) stage monitors; and (3)
a digital audio interface from Aviom Inc. that allows personal mixing stations to be located
close to each performer. Techniques for mixing floor monitors and IEM systems are described.
Full Text
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Technological
innovation and economic reality have recently come together to create
opportunities for touring musicians wanting better control over their stage
sound. While all musicians would prefer an onstage monitor engineer to serve up
the perfect mix, fewer and fewer
venues can afford it. Here's a brief overview of new monitor mixing technology that puts the
power into the performer's hands at a real-world price.
In Ear
Monitors
Wireless
In Ear Monitors (IEMs) have gotten so affordable, professional musicians can
now outfit their entire group without taking out a mortgage. Combined with an
inexpensive rack-mount mixer at stage-side, IEMs can give each performer a
custom mix while lowering
stage volume, helping the FOH engineer at the same time. In North America,
Shure Bros. is the leading provider of IEM systems, offering a range of choices
and price points. A variety of appropriate rack-mount mixers are available from
Allen & Heath, Yamaha, Mackie, Soundcraft and Crest. You'll want a mixer
that can provide at least four discrete mixes, but go for six discrete mixes if you've got that many players and can afford
it. Also, remember, you can save lots of cash by providing wired IEM systems
for stationary players such as percussionists and keyboard players.
Stage
Monitors
A
percentage of players will always prefer monitor speakers rather than IEMs;
they, too, can go the self-mixing
route but will need more training in system equalization to avoid ear-bending
feedback. The equipment package will be more complex, requiring outboard
equalization, amplification, and a speaker system for each open-air mix. Affordable powered and
un-powered stage monitors are available from EAW, JBL, Electro-Voice, Yamaha
and many others.
A Step Up
For those
of you already owning a system like those described, there's a new refinement
of which you may not be aware. Aviom, Inc. has created a digital audio
interface (Aviom A-16T) that allows personal mixing stations to be located close to each
performer. The control surface (Aviom A-16) is available in a rack-mount or mic
stand-mount version and provides 16 discrete channels, more than enough for
most mid-level groups. The user has control of level for each channel and master
bass and treble; recallable presets allow the user to tailor mixes for individual songs. The
master unit simply interfaces to your mixing
console via the individual channel insert points; audio is distributed
digitally to each mixing
station with fast and cheap CAT-5 Ethernet cable in daisy-chain fashion.
Getting
The Mix You Want
Whichever
setup you choose, you need to understand a few audio basics to ensure good
results. I'll start with techniques for mixing floor monitors and then move on to mixing IEM systems.
The
single most important determinant in achieving a good mix for yourself is proper gain-staging. By
"gain-staging" I mean simply introducing signal of an appropriate
level into your system and then maintaining that quality of signal throughout
the entire amplification chain, from input to output to power amplifier. With
this foundation of good signal quality, we can move on to the mixing.
Begin
with your own instrument or voice; bring the level up until you have a strong
but not overbearing volume. Next, check your tone; for vocalists and
instrumentalists alike, it's important to try a range of pitches and dynamic
levels so that you can check for obnoxious frequencies. If you like the sound
so far, you can move on to "ringing out" the monitor; this is a
technique that minimizes the possibility of acoustic feedback from vocal microphones
during performance. While a little disconcerting at first, the process is quite
simple and becomes straightforward with practice: With earplugs in place,
slowly raise the gain of your microphone until you hear the onset of the first
feedback tone; reduce your level slightly until the tone recedes. Now use your
equalizer (a 1/3 octave graphic equalizer is best) to find that tone by raising
the EQ faders one by one until the tone re-occurs; then, bring that fader down
to the -3dB mark and repeat the process. In some cases, the same frequency will
come up, in others, you will hear a new frequency; in either case, the process
is the same. Carry on until you have isolated three or four problem frequencies
and don't drop any single fader level beyond -6dB, otherwise your tone will be
severely compromised. Remember, you are using the equalizer to minimize
feedback while keeping as much tone as possible; too much frequency cutting
will affect your ability to hear the monitor and turning up the volume will just
bring on more feedback. If you are fighting a losing battle for volume, you
probably have a deficiency in your equipment package; have it checked out by a live sound professional.
IEM
technology eliminates the need for feedback equalization; you simply begin with
appropriate gain staging for all of your inputs and then dial-up the mix for each user. Individual
channel equalization will usually suffice for any necessary tonal changes. IEMs
require more attention on setting input and output gains since the use of RF
technology places limitations on available dynamic range, i.e., you can run out
of headroom and the mix
takes on an annoying, "squashed" quality that's very hard to get
around unless you start all over again. You also need to be aware of the potential
for ear damage; keep the mix
comfortable but not loud in your ear.
There are
other interesting sub-topics around IEM technology that deserve a separate
treatment; I'll look at these in a future article.
For more
information on any of the products mentioned, just do a Google search on the
brand names. Questions and comments on this article can be sent to the e-mail
address below.
Fred
Michael is President of Rocky Mountain Sound Production Services in Vancouver,
BC. June 2003 marks the company's 18[Symbol Not Transcribed] consecutive season
as supplier to the Vancouver International Jazz Festival. Fred can be reached
at fred@rmsound.com, or via the Rocky Mountain Sound Web page, www.rmsound.com.
Word
count: 1000
Narrow
subject
Monitors
(Loudspeakers), Live Performance, Touring
Musicians, Digital
Audio Workstations, Digital
Technology, Mixing (Recording)
Broad
subject
Company
Title
Live Sound: Monitor Mixing Technology
Author
Publication
title
Volume
Issue
Pages
60
Publication
year
2003
Publication
date
Sep 2003
Year
2003
Norris-Whitney
Communications Inc
Place of
publication
Toronto,
Ont.
Country
of publication
Canada
Journal
subject
ISSN
0708-9635
Source
type
Magazines
Language
of publication
English
Document
type
Instruction/Guidelines
Document
feature
Photographs
ProQuest
document ID
1357962
Document
URL
http://search.proquest.com/docview/1357962?accountid=144516
Last
updated
2012-09-17
Database
International
Index to Music Periodicals Full Text
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