Basics of setting monitor mix

[dbsoccer]

I started going to a local Open Mic for the last few weeks. I was starting to feel better with using the stage monitors. That was until last night. A major disappointment. Several things happened but the biggest issue remains me getting the mix set and allow me to relax and focus on just singing/performing the song. Based on last night, those in the audience would never have guessed I had practiced the songs many, many times - some times with a mic sometimes without. And while I may not be the best judge, a few of those times were pretty good, if I do say so myself but not last night.

At the Open Mic, in between performers, the sound guy (great guy, helpful, supportive, patient, etc) works to get the next performer plugged in, set up and then adjust the monitor mix to the performers preference. Maybe I have been lucking out and getting a good mix in the past but last night I must have really messed this up. I don't blame anyone other than myself. But clearly I need some pointers as how best to do this. And mine should be simple - and will be - once I figure it out. In the meantime..........ugh!!!

I have only a mic and my mp3 player as input. Nothing else. I want the mix right and I want the volume right. I felt I was getting a handle on this but I'm back to square one. I need to understand the very basics so I can practice at home, understand what I want and then be able to communicate this to the sound guy (what to communicate, how to communicate, all the very basics). I see some guys doing sound checks on the mic to set the mic level, as an example. Should I set the mic level first, then bring up the backing track and then the volume? Does it matter? Seems logical but at this point I tired of experimenting without some direction.

Thank you.

I had this at the tail end of a related string but decided it would be best to start a new post. Sorry for any confusion.

 

[Massive Master]

The backing tracks are easy - The vocal, not necessarily so much. Get your vocal level where you want it and then bring the mix in.

One thing for sure - If *you* have the player, volume at 90% or higher (typically, all the way up unless you have a specific reason not to).

 

[rob aylestone]

If you use a system at home for practice, then the performance one needs to be the same.

It's usual in bigger situations to simply play the track through your monitors and set the level. Then add your mic and get a good balance. Job done - adding the audience system doesn't;t change it much, because they are pointing away from you. In a smaller venue, the PA will be louder at your performing position, so then it reverses, no track or you through the monitor, and set up for the audience. Then you add you, if you can't hear your voice, and track, if you can't hear that. If you cannot hear the track, you can't pitch, so that's critical. If you can't hear your voice, then assuming the sound op can hear it from where they are, then that usually can be coped with without the audience noticing, but it's unpleasant. If your monitor is too loud, you sing quieter, the sound op then turns you up, you feed back.

I loved IEMs, much lower volumes and real quality - BUT - with even a slightly dodgy mix, you can't play or sing, so you'd have to ping at least one out so you didn't look stupid. Usually you can at least then cope. Ideally, you need the same thing, every time. That's difficult to manage.

 

[dbsoccer]

Rob, you paint a picture of my life on stage. I had to laugh.

The sound guy is great and very patient. He wants the volume of my .mp3 player maxed. Massive, you said to first get the vocal where I want it. And then bring up the backing track. I think Rob had things in the opposite order. I feel if I rely on the PA I'll get in trouble as it is coming directly from the speaker first and then an echo from the backwall, phase shifted.

I need the backing track for several reason mostly for pitch, as Rob said, but also for tempo. Although once I get past the first couple of bars and all is well then I pretty much relax and 'perform'. In quotes because it makes me laugh to say that. If I miss on the first couple of bars I wish someone bring out the hook.

Back to Massive's point or both, for that matter, I've discovered another issue I'm having, being a novice (on steriods) that being the vocal volume is largely dependent on mic position. I need to learn to be consistent where the mic is relative to my mouth and the angle. The Open NIght uses Shure Beta 58a mics. It has been suggested by some to 'eat the mic' but others (who, I'm sure, don't want to follow someone who has had the mic in their mouth) say to be close but, most important, be consistent, in not only distance but angle. Shure does not advocate "eating the mic". The Shure Beta 87A is more forgiving and allows more placement variation, according to Shure. Of course, it's a condensing mic and not a dynamic. And I'm sure my sound guy would not want to swop mics for me even if I brought my own.

I am in awe of people who can stand on stage and seem to have no issues with any of this. It doesn't matter which mic is used, what the monitors are or where or if there are any monitors, etc. Clearly, I need to spend some serious hours practicing with a mic in hand so I can understand what I need and then be able to communicate this to the sound guy. I'm thinking with more practice the 'set-up' will become less critical.

Thanks for your input. Anybody who says this is easy is either crazy or they have low standards in performance quality. Or they were born with senses and instincts that I don't have.

 

[rob aylestone]

It’s fine to have different ways to do things. However, one thing is important. The person doing sound is there to support you. If they don’t or insist on certain things, they’re simply not very good. They are not God, though some believe they are. I heard one, about 24, tell the old comedian guy on stage to hold the microphone closer if he wanted to be heard. This fella was a vertebrae performer, worked with people like the Beatles and the Rolling Stones, and had entertained the Queen many times. He stopped. He then quietly said, “lad, I have held the mic in this place for sixty years. I know you don’t like it, but your job is to make me sound nice, whatever I say and however I do it. Do you want to be the only sound engineer out of thousands who can’t do it? Give it a go lad, yo7 might learn something”. Blunt, but polite. I’ve actually done the sound for him many times myself, and it’s very annoying, but it just means the volume goes down, on everything. In my case, he had a band usually. You look down at the faders and they’re all off!