Live Sound: Monitor Mixing Technology
Michael, Fred. Canadian Musician 27. 4 (Jul 2005): 60.
Abstract (summary)
Tips are presented for live performers who want control over stage sound yet cannot afford onstage monitoring systems. Wireless In-Ear Monitors (IEMs), stage monitors, and Aviom's digital audio interface are described. Advice is then presented for choosing between these technologies depending on one's preferences and sound.
Full text
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 Alien & 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 -6 dB, 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.
Indexing (details)
Cite
Narrow subject
Sound Quality, Live Performance, Monitoring Systems, Wireless Audio Equipment, Product Capabilities, Advice, Monitors (Loudspeakers), Stage Effects
Broad subject
Musical Performance, Sound Recording/Processing/Systems
Company
Aviom
Title
Live Sound: Monitor Mixing Technology
Author
Michael, Fred
Publication title
Canadian Musician
Volume
27
Issue
4
Pages
60
Publication year
2005
Publication date
Jul 2005
Year
2005
Publisher
Norris-Whitney Communications Inc
Place of publication
Toronto, Ont.
Country of publication
Canada
Journal subject
Popular Music, Music, Canada
ISSN
0708-9635
Source type
Magazines
Language of publication
English
Document type
Instruction/Guidelines
Document feature
Photographs
ProQuest document ID
1358459
Document URL
http://search.proquest.com/docview/1358459?accountid=144516
Last updated
2012-08-23
Database
International Index to Music Periodicals Full Text
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