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Strategies and a Suggested Standard Operating Procedure for Soundcheck

Welcome to Part Two! For a monitor engineer, consistency is key in making sure musicians always have great-sounding mixes, smooth communication, and awesome performances. Let’s explore a solid method for dialing in perfect mixes and living your best life in monitor-world

Part One

Ringing It Out

Before the Band Arrives

Recall your start scene.
Use pink noise to check that all monitors are functioning, set, labelled, and positioned as intended. Do this for your cue wedge too, which ideally matches the stage monitors for consistent referencing. Confirm your talkback system works to both stage and FOH. Do a line check to make sure the patch is correct and noise-free. Confirm every input is showing up at a reasonable level and troubleshoot anything that’s not.

Zero out the mix sends.
Start with a clean slate for each performer’s mix by making sure no input channels, other than talkback from FOH and MON, are being sent to the mixes. Check that aux or bus sends are activated and outputting properly for the room. Decide on pre – or post-fader per channel or mix and be extra mindful of which ones are post-fader, as fader moves will affect the artist’s mix. This can be useful, for example you can mute problematic channels quickly and catch the nuances of solos. If the band’s rider states what is desired in their IEM mixes a good starting point is 0 dB for vocals, -10 dB for instruments, and less for everything else.

Confirm the stage plot and input list with the band or manager.
Update the stage team and FOH if anything’s changed and adjust your start scene accordingly. At festivals, a clipboard or whiteboard you can draw the stage plot, input list, and monitor mixes on can be helpful.

Add wireless and IEM channels to your software.
Once the input list is validated, add any wireless and IEM channels into your coordination software (e.g., Wireless Workbench or Wireless Systems Manager). Always have a few backup frequencies ready in case of interference.

Do a wireless frequency scan.
Conduct a scan (as discussed in Part One: Ringing It Out) to check for any RF interference in the venue. Use your system’s scanner to identify the clearest frequencies and update the wireless system accordingly making sure all transmitters are synced and ready to go. If you don’t have a dedicated RF tech, make sure to continuously monitor RF levels pre-show and during the show and be ready to swap gear or channels if needed. If interference arises after the scan, assess whether it can be addressed within the changeover time. Sometimes you may need to prioritize getting the stage workable.

Be Careful with In-Ear Monitoring (IEMs)

Soundcheck Process

Introduce yourself:
Use the talkback mic, make eye contact, and confirm the band can hear you. Use mnemonics or other memory activating techniques, like the method of Loc, or simply writing down names, to remember as best you can the band members’ names. Remembering names is a soft skill that speaks volumes, it shows respect, builds rapport, and reinforces all the hard skills you’ve worked so hard to develop over the years.

Start with vocals:
Most performers rely on vocals as their main reference. Getting this right first helps everyone feel grounded; it’s essential for communication and is often the loudest input requested in monitor mixes. That said, some bands or FOH techs may prefer to start with channel one, usually the kick drum, you can always just ask and check what works best for the team, but I would default to vocals first and then moving on to the rhythm section.

Guide the band through the check:

Some Tips on Handling Feedback Before reaching for the EQ

Always Remember

Leveraging Technology on Stage

Using a tablet like an iPad connected to the console can streamline soundcheck and save you a lot of literal steps. Just make sure you’re on the right Wi-Fi network/subnet and enter the correct IP address from your console. Additionally, some systems, such as Klang, allow musicians to control their own monitor mixes their own device. If the band is comfortable with this, it can empower performers to punch in their own preferences. Let them know you are there to assist, adjust settings, and even teach them how to use software whenever needed. Remember, making them feel confident and comfortable is the priority. Even if the band is self-mixing, check in to make sure their devices are connected properly and that they know how to use the system.

Final Touches Before the Set

When the Show Starts

By following these strategies and suggested operating procedures you’ll be able to deliver a smooth, personalized soundcheck experience that supports the performers and keeps you loving life in monitor world. Stay consistent, be proactive, communicate clearly with artists and crew. Keep on gigging and don’t forget to giggle sometimes.

I love references and cite it out when in doubt!
Check out these two fantastic articles by Michelle Sabolchick Pettinato, one of the OG SoundGirls. Her wisdom on live music mixing continues to inspire and guide generations of engineers.

While you’re at it, dive into the psychology of mixing monitors by Becky Pell—a must-read for anyone serious about understanding the human side of sound.

 

Reference links: 

1https://www.mixingmusiclive.com/blog/what-does-a-monitor-engineer-do

2https://www.mixingmusiclive.com/blog/the-sound-engineer-is-the-conduit

Additional Resources:

https://www.rationalacoustics.com/pages/smaart-home

https://opensoundmeter.com/en/

https://soundgirls.org/ringing-it-out/

https://www.prosoundweb.com/different-strokes-mixing-monitors-for-disparate-personality-types/

IEM Maintenance & Troubleshooting

The Glamour Starts Here

Special thanks to Josh Thomas for all his help with writing this article.

 

A few years ago, I went to a talk about mixing for in-ear monitors (IEMs), given by one of the top monitor engineers in the UK, Mr. Justin Grealy. As someone who mainly worked in-house, but had to accommodate more and more acts turning up with their own IEM systems, I was intrigued to learn as many tips and tricks as possible to give artists great mixes. I was not expecting most of the hour to be taken up with all the different ways to get earwax out of an IEM. Some were admittedly genius – hairdryers were mentioned at one point – but I didn’t understand at the time just how important good IEM hygiene and maintenance is for a successful mix. No amount of volume, pretty effects or space-creating trickery will make up for the sound being muffled by a wall of wax, or cutting out because of dirty connections.

IEMs can be the biggest purchase you make in your early career, so it’s worth taking the time to find the right ones for you. If you need them to work with the same act regularly, try to get the same make and model as they use (or the main person uses if they all have different ones). The goal is to get as close as possible to what they hear. Discuss with management whether their budget will cover part or all of the cost.

If you need them for one-offs or working in-house, get the best quality that you can afford. It can make a massive difference to what you hear, and so how well you can react and make subtle adjustments in a mix. Generic IEMs are cheaper and quicker to buy than a custom moulded pair, but getting a custom fit will properly seal the IEMs against the ear canal, which helps with isolation from external noise and provides a better bass response. If possible, go to a local IEM dealer and demo a few different ones before you decide. Remember, you want the ones that will reproduce the signal most accurately, not the ones that sound nicest (e.g., if the pair you have are rounded off in the higher frequencies, your mixing could sound too harsh to people who have IEMs with a flatter frequency response).

Regular cleaning of your and your clients’ IEMs is essential. Small grains of dirt on an IEM can make their way into your ear, scratch the delicate skin in the canal and lead to infection and swelling. Dirt, sweat, and wax can block the drivers’ tubes, corrode the connections and even end up in the tiny and sensitive electronics, causing damage. I would like to say if you take good enough care of them, they can last you a lifetime, but custom moulded IEMs should be replaced about every four years. The shape of your ear canal changes subtly throughout your life, so after a few years, the fit won’t be as exact and will stop forming a seal. Specialist gels like Auragel or foam wraps like Comply can help to form the seal again, but they are only a stopgap solution. Once you notice your IEMs loosening it’s time to get a new pair, from a new fitting, not the measurements the IEM company may have kept on file (these are for replacing lost or damaged IEMs).

The central part of cleaning IEMs is removing wax from the tubes that lead from the drivers to your ears. Your IEMs should come with a loop of wire with a plastic handle for this, but if they didn’t, or you lost it, or the wax is further down the tube than it can reach, there are a few do’s and don’ts you should bear in mind.

First, be gentle. Keep a close eye on what you’re doing and be careful not to damage any filters or circuitry inside the IEM. Don’t use anything that might break off and get stuck in the tube! Mechanical pencils look kind of perfect for this task, but they are a terrible idea. Also, avoid using anything pointed or sharp, like a needle. You could scratch the moulding, making tiny grooves where more wax and dirt can build up, and potentially where bacteria can fester. Using a loop, optionally followed by a specialist earwax vacuum, is the way to go. I try as much as possible to hold the IEM upside down, so any wax that gets dislodged falls out instead of further into the tube, and I use a gentle scooping motion, at an angle, to get behind the wax and bring it back out instead of risking pushing it further in. Compacted wax blocking a driver can render an IEM useless, and it can be costly and time-consuming to send back to the manufacturer to fix. I then clean the outside of the moulds with alcohol swabs.

 

Cleaning an IEM with an earwax vacuum, nozzle inserted at an angle

 

If one ear keeps cutting out, look at the connections between the cable and the IEM. It might merely be loose, but check that there isn’t any green or black stuff at the pins or in the socket. Black is most likely dirt, but green is corroding copper, usually caused by sweat. Cleaning this off with a cotton bud (Q tip) dipped in alcohol or contact cleaner (being careful not to let any liquid get into the body of the IEM) can fix this, but you need to prevent it happening again. Leaving the IEMs to air out after use, keeping a small sachet of silica gel in the case, and checking them regularly can help. If the owner likes to wear their IEMs in the gym, tell them, it’s time to invest in standard earbuds, or it will become a costly habit!

Two different brands of IEM with their respective cables. On the left, the socket is recessed into the casing where two dots can be seen, on the right, it is the area in black. There is no evidence of dirt or corrosion.

 

If the ear connections are fine, the minijack connector or belt pack socket might be dirty or corroded and can be treated in the same way. The minijack has to be fully seated for both ears to work. If the right side is intermittent, but the left is fine, the jack might be pulling out of the socket slightly, so the right side’s ring no longer makes a connection. Leaving more slack on the cable or taping it in place should help. If it isn’t the jack, gently wiggle the cable as you’re sending signal, to see if there’s a weak spot. IEM cables can get abused, being yanked and pulled during costume changes, snagged on door handles, crushed in their cases. It is wise to carry spare cables for each type of IEM you have so you can swap them out straight away if there’s a problem. Don’t wait until you need one, because it can take weeks to get them, especially at busy times of the year.

If the above steps don’t fix your problem, it might be an issue with the pack or radio frequencies, which is outside the scope of this post. If one ear has lost a big chunk of its frequency spectrum, or it sounds like it’s distorting at low levels, one of the drivers might have blown and will need to be sent for repair. Another reason to keep an eye on your bandmember’s pack volume levels and to mix responsibly!

There are all types of little gadgets and supplies you can keep with you to help with IEM maintenance and troubleshooting. IEMs and hearing aids have a lot in common, and it’s worth checking out audiologist suppliers as well as IEM specialists for things like cleaning loops, ear wax softener and earmould stetoclips (like a stethoscope for hearing aids). Always have plenty of alcohol/anti-bacterial wipes to hand, and thoroughly clean each piece of equipment between IEMs with a new swab to reduce the potential for cross-contamination and general grossness.

Whether the thought of dealing with other people’s earwax turns your stomach, or like me, you find cleaning IEMs strangely satisfying; it does more than keep your equipment at its best. It’s always good to get a reputation for being helpful and useful, and you can spot potential problems before they develop. It’s much easier and safer to deal with issues in your downtime than halfway through a show. It can also be an excellent opportunity to start the conversation with clients about anything they’ve noticed about their IEMs but hadn’t thought to mention, or how they’re dealing with volume levels and looking after their hearing in the long term. For example, increased earwax production can be the body’s defense against sustained, overly loud listening volumes. Showing that you’re interested in their hearing health now and in the future, and willing to go the extra mile, can cement your relationship and improve trust and communication, which will do more for your mixing than any effects unit ever could.

Stealth Sonics – The Next Generation of IEM Technology

For a product that didn’t even exist until the late 90s, in-ear monitors have become a major part of the audio engineering world. From the first set created by Jerry Harvey for Alex Van Halen back in 1995, we now see custom IEMs with as many as 12 drivers in a single tiny earpiece. As a monitor engineer who has used IEMs with most of the bands I’ve mixed in the last 20 years, I’ve often wondered how much further the technology could go.

Well, it seems that a group of audiologists, engineers, and musicians with a passion for creating an unparalleled listening experience may have the answer. Stealth Sonics has gathered research from a vast network of audiologists and breakthroughs in the aerospace industry to create a new range of IEMs which engineer ultra-precise, second-bend ear canal impressions to position the earpiece within just a couple of millimeters of the eardrum. The advantage of this is the ability to listen at a lower, safer SPL; going as close to the eardrum as possible ‘reduces uncontrollable acoustic gain along the ear canal and therefore lends itself to higher fidelity sound.’

The Stealth Sonics approach is a new one – to the best of my knowledge, there are no other second-bend IEMs out there, although second-bend moulds are regularly created for hearing-impaired clients requiring hearing-aids. As the process is undertaken by members of a network of certified and medically trained audiologists, it is both completely safe and guarantees an optimum standard of impression-taking. The price of the IEMS includes the audiology costs for impression-taking – often not the case with other manufacturers, and I for one have fallen foul of poorly-taken impressions resulting in a very expensive pair of uncomfortable IEMs!

But it’s the level of customisation that, to my mind, makes these IEMs the most exciting thing to come to the market in a long time. Stealth Sonics don’t stop at taking a very accurate, second-bend ear impression – they actually send a sweep into the customer’s ear canal and measure the response digitally, much like how a room is acoustically treated. Using the data gathered and combining it with Minimum Hearing Thresholds, they are able to map a solution that will not just custom make a sleeve that will fit into the ear canal, but which allows them to tune the IEM to the specific acoustic ear canal response of the individual. That means they would hear the best and most accurate sound they are capable of hearing. And for a monitor engineer, this is the closest you’re ever going to get to truly hearing the same thing as your artist.

The influence of aerospace technology is an interesting factor in Stealth Sonics’ product range. Using what they call  ‘SonicFlo Tech,’ they employ science that allows the control of airflow from the drivers to the ear input, through control of parameters such as the length/diameter/aspect ratio of the delivery tubes. This control allows them to deliver sound for various purposes; their 2-driver unit is musical and designed for live sound and music lovers, 4-driver is designed for the vocalist and guitarist and the 9-driver is designed for the mastering engineer or audiophile. Their IEMS contain either balanced armature drivers or a combination of those and dynamic drivers. To explain the technology more thoroughly, in balanced armature design an electric current is passed through a coil wrapped around an armature. The coil is suspended between 2 magnets and the changes in current create attraction between the coil and magnets. Balanced armatures can be optimally tuned for specific frequency ranges, and offer better HF performance than dynamic drivers as well as a faster response and more detailed sound. They are also smaller than dynamic drivers, making them ideal for fitting into tiny earpieces.

In a dynamic driver, the diaphragm is attached directly to a voice coil. When current is applied, the voice coil moves between 2 permanent magnets causing the diaphragm to move and produce sound. They offer a better bass response than a balanced armature and tend to be more durable. The difference between the two is much like the difference between dynamic and condenser microphones – both have their advantages, and Stealth Sonics use those judiciously to produce the optimum performance for each product in their range.

Further optimisation comes from the three different types of cable available: the nylon-sheathed copper cable is ideal for extended onstage use due to its tendency to remain tangle-free; the braided oxygen-free copper cable offers improved signal delivery, and the silver oxygen-free cable offers an upgraded audiophile experience due to superior conductivity.

As audio technology gets ever more intricate, it’s exciting to see IEMs taking a bold leap forward. I for one am extremely eager to experience just how good the up-close experience of IEMs can be, when great music is delivered in first-class style to my eardrums, via an earpiece that has been perfectly tailored to the exact acoustic environment of my ears…. taking the meaning of personal monitoring to a whole new level!

Stealth Sonics will be demonstrating their new products at AES in New York October 18 – 21st. Stop by and tell them SoundGirls sent you.

 

Monitor Mixing Workshop

Although monitor engineering is often thought of as subordinate to handling the FOH sound, in reality, it’s as important if not more. In this short class, we will learn the basics of monitor mixing and focus on eqing different types of monitors with different types of microphones. This workshop is designed to gain insight and techniques for mixing monitors. Beginners welcome – but the workshop is geared to an intermediate level. We will be focusing hands-on on ringing out monitors.
 

Taught by Ivan Ortiz

Inquire about Financial Aid soundgirls@soundgirls.org

Topics to be covered.

Hands-on Gear (Possible wedge, side, and drum fill configurations will be (dependent on what Rat has in inventory)

About Ivan Ortiz

Ivan Ortiz is a veteran, with over 18 years of experience in professional audio – gaining his education working for a small sound company that specialized in Latin acts while attending Full Sail. After he graduated he headed to the west coast – taking an internship at Rat Sound Systems and his “can do attitude” led to weekend work with several Los Angeles based sound companies. Ivan would go on to tour as a system tech for Blink 182, Jimmy Eat World, Pepe Aguilar and toured for several years as a monitor engineer for My Chemical Romance, Gavin DeGraw, and multiple fill in gigs for other bands as FOH or MON Engineer.

Ivan would go on to work for LD Systems in Houston Texas working the Houston Rodeo as Monitors Engineer for the event for five consecutive years. While working for LD Systems Ivan also had the opportunity to work on national televised events as the A1 for NCAA Final Four, NCAA Sweet Sixteen, Houston’s Thanksgiving Day Parade, before returning to Rat as shop manager and all around Tech Master.  Ivan is now the Technical Resources Manager at Rat Sound Systems.

 

 

 

 

 

Up Close and Personal

Last month I talked about the nuts and bolts of how I run monitors at the Glastonbury Festival. This month, I’ll share some tips about how I mix monitors at the other end of the spectrum – a solo artist and their band.

Running a large festival requires a different set of ‘soft’ skills from working closely with an artist. They both take a great deal of preparation, but whilst at Glasto, that means collating tech specs, session files and stage plots for 24 bands, with solo artists it’s more to do with rehearsals and relationships. And whilst at Glasto, I have the artistic input of making sure that the house EQ and any necessary time alignment on sidefills and wedges mean the stage sounds fantastic, with an artist it gets a lot more refined, particularly if I have a long working relationship with them. My two current artists are both fantastic singers whom I’ve been working with for nine years and seven years respectively, so by now, I have a fairly intuitive understanding of what they want to hear. Both have excellent bands playing with them, are lovely people, and I enjoy their music, so it’s a very nice position to be in.

Relationship

The quality of the relationship between the monitor engineer and artist is an important part of the job, and as with people in any walk of life it doesn’t always click. You can do a great technical job of mixing, but if the artist doesn’t feel a connection with you, you may not get a second run. As I’ve said before, they need to feel that you’ve got their back, because they really are reliant on you. Put yourself in their shoes – it’s a vulnerable position, standing on stage in front of thousands of people, and their ability to hear what they need is totally in your hands. That goes for all bands, but is amplified for a solo artist – the backing musicians are a big part of the show, but the audience is watching the star most of the time, so they’re very exposed and they have to trust you. Part of it is down to personalities – you might gel and you might not – but you can help build rapport by being reliable, consistent, calm, professional, prepared and confident.

Hierarchy

Being friendly with the artist, but not overly so, is important – you want to establish an easy working relationship with them, whilst remembering that they are still your boss. I’ve found that balancing friendliness with a little professional distance is a wise move. Friendly, not friends.

Of course, in most cases, you’re not just mixing for the artist but for the band too. I’ll always soundcheck with the band by themselves first, so that I can make sure they’re happy before turning my attention to the artist – and often an artist will stop soundchecking when they’re comfortable with the engineer. I never stop watching the artist once they’re on stage – you can guarantee that the moment you look away is the moment they’ll look over!

During the show, I keep half an eye on the band, but my main focus is the artist. So how to make sure that the band feels taken care of too? I ask the stage tech and backline techs to keep an eye on the musicians and alert me if I miss anyone trying to get my attention. I also give every band member a switch mic, so that they can talk directly to both me and the techs. I set up a ‘talk to me’ mix on my console, and I feed my own IEM pack off a matrix, pulling in that talk mix as well as the PFL buss. In that way I never miss someone talking to me, even when I’m listening to the artist’s mix.

Sometimes there’s a request that comes at a critical point in the performance; for example, the drummer wants a little more hat overall, but I have a show cue. I’ll nod to let them know that I’ve seen them and hold up one finger to say that I’ll be with them in just a moment. Then, when I’ve made the change for them, I’ll glance over and catch their eye to check that they’re happy. I encourage musicians to give me immediate feedback when they’ve asked for something – it’s no use finding out after the gig that something wasn’t quite right!

Avatar

Mixing artist monitors is like being an avatar. I need to develop a real understanding of what they pitch to, time to, what they’re used to hearing, and what helps them to enjoy the gig. I don’t usually alter the backing band’s mixes unless asked to do so, but I’ll subtly ride elements of the artist’s mix as necessary during the show, once I have a good understanding of their preferences – if an element of the mix sounds too loud or quiet to me, then it probably does to them as well. I tend to tap along with my foot, which keeps me aware of whether they are wandering off the beat and might need a little more hat or snare.

My latest trick

In rehearsals for my current tour, I had a few days alone with the band first, as usual. Once they were happy I set up my artist’s mix and dialed her vocal mic in. Then I tried something new – I sang along! BEFORE I sent the mic to anyone else, and I ‘may’ have temporarily pulled the XLR split to FOH so only I could hear it, but wow it’s a helpful exercise! It really helped me to get a feel for how easy the mix was to sing with. A more discreet way is simply to keep one IEM in, close off the other ear with your finger, and see if you can pitch reasonably easily. If you can’t find the note you need, what can go up in the mix to help your singer out?

Audience mics

Whilst we never needed these when wedges were the only option (showing my age!), with the widespread use of IEMs they can help the artist feel the vibe of the show. Currently, I’m using three mics on each side of the stage (near, wide and rifle), mixed down to a stereo channel to give a nice spread of audience sound to the ears. I hi-pass them at around 600Hz to keep the low-end out and have them on a VCA which I ride up between songs and when there’s audience participation. On the subject of VCAs, I also use one for the vocal reverb, backing it down during chat between songs.

Split vocal

With solo artists, I always split the vocal down two channels: one to themselves and one to the band. That means that I can keep the mic live in the artist’s ears the whole time, so they can hear themselves after a costume change (when jacks can get pulled and volume pots knocked), without disturbing the band. If we’re using both IEMs and wedges, as one of my artists does, I’ll actually split the vocal three ways to allow for a different wedge EQ and muting when he goes off stage. I always safe the ‘vocal to self’ out of all snapshots, but keep the ‘vocal to band’ within snapshots so those mutes are programmed in.

Keep it clean

Finally, I do a little in-ear and mic housekeeping every day. It’s the monitor engineer’s job to keep the artist’s molds clean and wax-free, so I carry wipes and a little poky tool to make sure they’re always in good condition. Alcohol swabs are great for cleaning the vocal mic, which I do right before handing it over – apart from the fact that a stinky mic is gross if the artist gets sick and can’t perform the whole tour could be in jeopardy, so hygiene is really important.

I hope you’ve found something useful here – every engineer will do things slightly differently, but a can-do attitude, hard work, and attention to detail are great foundations for any engineer, no matter what you’re mixing!

Tips for Getting the Vocals on Top

Down in the trenches of clubs keeping the vocals on top of the mix and loud enough in the monitors is a challenge. Here are some strategies that Karla Barrera utilizes.

The biggest problem I have is when mixing loud music like punk or metal is how to keep the vocals loud enough. When the musicians don’t hear themselves in the monitors, and they are on the edge of feedback? First of all, the sound starts with the stage volume always. You need to control your stage volume right off the bat.

First of all, the sound starts with the stage volume always. You need to control your stage volume right off the bat.

Check levels starting with the Kick drum and beyond. Once I get to the bass and guitars, I listen to what is coming off the stage and if you feel like the stage volume is too loud, here are a few things to think  about

Is the bass the tone too woofy and boomy? Instead of having the bass player turn down his/her level, should I suggest changing the tone a bit? (Familiarize yourself with the EQ knobs on bass amps, usually Hi, MIDS, LOWS, CONTOUR,  ETC… EXAMPLE: “Can you back off the low mids a bit so that the low end won’t wash out the vocals in the monitors? ”

Is the guitar just too loud? Should I suggest turning town some of the high-end on the guitar or should I have them turn down the master level? Can you get them to warm up their tone? Example “Maybe warm up your tone a bit to give more space for the vocals.”

Should I suggest to the guitar player to face the amp towards the wall so that the amp won’t bleed into the vocal mic as much and shoot at me/the audience? (some guitar players do not want to turn down because they want to keep their tone.)

Try to get the guitarists/bass players to run thru all of their pedals. Have them toggle through their boost, clean, distortion channels to search for any dramatic level changes that will change mix too dramatically. Take a moment and work with the guitarist. What you are looking for is consistency through levels. The boost will naturally be a little louder, because, well it’s a boost pedal for solos. Once you take a moment to check their pedal levels, you are that much closer to having control of the levels coming off stage. EXAMPLE: “Your clean channel is much louder than your distortion. Can you back off your clean level and turn up your distortion to even out the levels? ”

Don’t be afraid to school musicians. Let them know nicely that sometimes their tone does not translate the same as it does in their rehearsal space as it does in your venue. (which is why you give them these suggestions). Some musicians don’t play live very much.

Once you are done with the basic sound check line check and you are ready to hear a quick song during sound check, turn off the PA and let the band know that you want to hear what is coming off stage first before you turn up the PA and you will turn up the PA shortly. Listen carefully to the stage without your mix (30 – 60 seconds or till you hear a loud part kick in) that way you can tell what is actually happening on stage before you start turning things up.

Once you have done that, start turning up the vocals, get them nice and loud before you turn any of the band up. If you can’t get the vocals loud enough before putting the band in the PA the band should turn down, flip amps around or change tone. Sometimes, it’s the snare, or the cymbals and drummers will absolutely not hit softer. They hate that.

EXAMPLE: “Right now, I am struggling to get the vocals loud enough, and I don’t have any instruments in the PA, do you guys mind turning down a bit and I’ll put more of your guitars in the monitors?” (note this is not decreasing the stage sound and will not be ideal for a struggling vocalist)

EXAMPLE: “Any way you can tape your cymbals a bit? They are much louder than the vocal right now.”

EXAMPLE: “Can we mute your snare a bit with a little bit of gaff tape on the snare? It’s bleeding straight into the vocal mic.”

When you are mixing, and there is a certain element on stage that is sticking out too much, just take the snare mic or guitar mic or hi-hat out of the house. You may not even need it because it’s loud enough coming off the stage.

The 2nd problem happened to me for the first time last night. I put Shure Beta 91 inside the kick drum but later changed it to AKG d112. I had feedback coming from somewhere when the drummer hits the kick which stopped when I muted the main vocal microphone and the guitar microphone. We turned away the whole guitar cabinet, and it got better.

Both are great mics, but here is where you should start:

First of all, you need to EQ the monitors before the band arrives to make sure there is no feedback on stage BEFORE the band arrives. You need a graphic equalizer on every monitor mix and find all the frequencies that are feedback and need to be cut out.

Once you stabilize the stage, check the lead vocal in the house before the band arrives. Get a long XLR and take the mic to FOH if possible or have someone check the mic for you while you are at FOH. Make sure you have a graphic equalizer on the house too and get it as loud as you can. When you hear feedback, start taking out those frequencies that are feeding back. You can download an RTA mic app that can help you see the offending frequencies that way you know exactly which frequency to cut (I use the app FrequenSee)

The kick drum was making the vocal mics feedback because you had them cranked so loud and you were not equalizing the monitors or the PA properly. Think about the basics. GAIN STRUCTURE IS EVERYTHING! Less gain before feedback. Instead of gaining up your vocal, turn up your monitor outputs to +5dB that way you have more headroom to turn up before reaching for the gain knob.

Should the bands be less loud on stage? should I reconsider my mic techniques?

Maybe, try my steps from above to make sure you have control of the stage. Trying new mic techniques could work. I would have to know what you are doing.

Karla Barrera is a sound engineer at The Roxy and works freelance around Los Angeles. She previously worked as a Production Manager and Sound Engineer at The Viper Room. Karla is also the artist manager for Imaad Wasif. She attended The Arts Institute of California.

Attitude of Gratitude: Cool things about touring (that we sometimes forget…)

Many of us occasionally get a bit of jaded roadie syndrome. Maybe we get grumpy, and homesick, and miss our folks, and dammit if we hear that song one more time….. When life on the road feels a bit uphill, here are some of the great things about touring to remind ourselves of.

– You get to travel the world and get paid for it. Sometimes, if you’re lucky, you find yourself in some crazy places that you just wouldn’t ever visit as a tourist, and become richer for the experience, both literally and figuratively.

– You get to do this with a bunch of like-minded people who often become good buddies. Sure there’ll be one or two who aren’t your cup of tea, but that’s just life, and there are lots of others to hang with. Camaraderie is one of the best things about life on the road.

– Music! I’m guessing a love of music led you down this path in the first place, and now you get to work with that love. With a bit of luck, you like the band you’re touring with, and it can be so fulfilling to be part of that creative process.

– You don’t have to clean the bathroom THE WHOLE TIME YOU’RE AWAY!

– Or go to the supermarket.

– Or cook.

– Or do your own laundry…. You get the picture.

– Lovely people cook lovely food for you. In fact, you may need to pack your willpower if you don’t want to come home with some unwanted tour swag…. Especially when the load-out food and drink fairies visit the bus!

– You get to be ‘in flow.’ If you’re directly involved in the show, you can’t be thinking about anything else for that couple of hours… you have to be present because if you’re not, you’re going to mess up. And we all know what that means – Taxi!

– Every day is dress-down Friday. Except when you put on normal-person clothes to go out for dinner on a day off, and everyone looks really smart, and it’s all a bit weird…

– You know that thing when you forget where you are? (Umm…. stage left?) Well, that happens, but it’s sometimes because you haven’t looked at the day sheet beyond timings and so you genuinely don’t know! Which is kind of surreal….

– Sometimes you get to stay in really swanky hotels. The rooms are usually ready pretty fast because a bunch of crew tumbling off the sleeper bus in their pajamas isn’t quite the look the hotel staff had in mind for the lobby.

– You get to try some really weird and wonderful local cuisines and customs on the more far-flung legs of a tour. If you’re prepared to step outside your comfort zone and embrace the adventure then it’s never dull!

– There’s that cool little rush of adrenaline before a show, and the happy sense of satisfaction after a, particularly good one. Heck, even on those shows when everything that can go wrong, does, there’s that ‘blitz spirit’ of everyone pulling together to make this thing happen!

– You make your living by contributing, in some tiny way, to the sum of human happiness. See all those shining faces in the crowd? You’re a part of that.

– Finally, when you get home after a long tour there’s nothing quite like it for making you truly appreciate life’s little pleasures. Early nights in your own bed; a proper cup of tea in your favourite cup; making whatever you fancy to eat; your own shower; catching up with home-friends; and of course the biggie of seeing your loved ones…. these things take on a new level of joy, and that alone is worth hitting the road for!

Conversations About In-Ears

One of my favorite things is seeing musicians embracing, understanding and using technology to further their artistic goals. I regularly do monitors, and I get so excited seeing when singers have successful soundchecks and go on to just nail the performance. I notice that time and time again singers struggle a little harder with wearing in-ears than most musicians do. I decided to use the resources I have close to me and talk to vocalists I know in the area. These are women I believe excel at what they do and also wear in-ears properly.

First I talked to Nikia Hammonds-Blakely. She is a local singer that I have the pleasure of working with regularly. She started performing in a choir at age ten which progressed to her performing as a solo artist in her teens. Her early influences were obviously gospel. As she got older singers such as Whitney Houston, Toni Braxton, and Celine Dion have become an influence. Her favorite style of song is a mellow love song.

When I started asking her about her experiences with in-ears, I noticed a how she hesitated. She has been using IEMS for three years and is still hesitant to say she is comfortable. Nikia uses Shure SE425 a dual driver generic in-ear. I asked her what her biggest struggle with in-ears was. To which she replied, “I’m a people person, I like to connect with people. I want to feel the room. I want to feel a vibe off the atmosphere.” She felt that she initially didn’t want to hear just the music, it made her feel as if she was in a recording studio and in her own world.  She said she struggled at first to be able to describe what would help her still feel connected.

“I am a work in progress. I’m an artist. By no means do I have any tech-savvy-ness. . . I want to grow to the point where I know the science behind sound. So I can ask for what I need.”

The most exciting thing, as a monitor person, was to hear repeatedly her desire to know more about the technical aspects. The more she knows, the easier and faster she can achieve her perfect in-ear mix.

“I used to hate them because I felt contained. I’m much more comfortable with it now because it allows me to hear my voice better and perfect my voice. When you can hear yourself better you can adjust yourself without going sharp or flat.”

Another interesting point she brought up was performance. She said her performance changed using in-ears. Before she relied on a lot of auditory cues for how engaged the audience was, now she is forced to open her eyes and make a connection. Her stage presence has changed. Her actions now are more deliberate. When she inserts her in-ears, it is as if she is now entering performance mode and is now there to bring her A game. The world of in-ear monitoring can get complex. Now there are cues, countdowns, and people calling songs or note changes all of which a singer could hear.

“In-ears is not just me listening to myself, or the band. It’s someone talking to me while I’m singing, distorted sounds, some sounds too fat; some are too soft. So you have to listen to those things and drown it out. You hear many more things than you did while just listening to wedges.”

As she grew more comfortable wearing in-ears she realized there was more than just going out there and singing.

“All that said, it is growing me. It is making me more aware of all the elements that have to come together to achieve a good sound. As a professional singer, you need to have an awareness of how one thing plays into another and the balance that is required to create this beauty that is music. ”

I always find it interesting what different singers want in their in-ear mixes. I feel like I’ve encountered a lot of singers who are timid with their requests. There is no wrong way to build a mix that helps you, the singer, give an incredible performance. When I asked Nikia what she liked in her mix she said herself, keys, whoever is carrying the melody, kick, click, audience mics. And what she calls the cherry on the top, reverb. She said, “reverb is like a filter on a camera or lip gloss on ashy lips. It just comes out a little prettier.”

When I asked her if she had advice for techs, new singers, and fellow musicians, she warned that as professionals we forget how foreign and overwhelming it can be for someone who hasn’t worked in this professional world. Her specific advice for monitor engineers was,

“Teach. Teach, the more you take a second to teach the more you will get out of them. In gospel music you have to be able to feel it, you have to be able to unplug from the technicalities and feel the audience and the message. It takes a certain level of confidence and being equipped on the front end to be able to do that.”

When I asked her if she had advice for new singers who are just starting out wearing in-ears she said,

“Talk to your engineers. Don’t be afraid to ask questions. I wish now I had asked more questions. I’m just now feeling more comfortable asking for what I need. Don’t feel intimidated by the engineers and people who know what you don’t know. You’ve got to learn from them and not be afraid to ask.”

That is the key for anyone coming up in the music business. Don’t be afraid to ask.

You can learn more about Nikia at:

nikiahammondsblakely.com

championpromise.org

Aubrey Caudill: Aubrey lives in the Dallas-Fort Worth area and works as a freelance audio engineer. She currently works for several area wedding bands and runs monitors at The Potter’s House North Dallas. She is also a mother of two sons under ten.

University of Crash and Burn – Rebecca Wilson

Rebecca Wilson is an industry veteran, working in live sound for over 25 years. Touring solely as a monitor engineer, except for a brief stint as FOH Engineer for Flemming and John (while out with Ben Folds), she has worked for Sound Image, at Humphrey’s by the Bay and toured with Nanci Griffith, Wilco, The Bangles, and more. Rebecca is based in New York, and after finishing a 15-month project for Tibet House US, the Cultural Center for the Dalai Lama in NYC has moved into the position of head audio engineer for the TED headquarters and TED World Theatre.

Rebecca grew up in ‘cow-town Colorado and says she had limited exposure to the arts. She took piano lessons from the age of five until age thirteen when her musical training was stopped short: “I got kicked out of the piano school for pressing a million short yellow pencils into the styrofoam ceiling of the composition room. I thought they were neat wooden stalactites, but my teacher didn’t.”

When asked about what drew her to audio, Rebecca says, jokingly, “hot band guys of course.” In fact, she always had a thing for audio, spending hours using her father’s voice recorder as a child. “I’d steal the batteries from my friends’ TV remotes for it and record endless stories, listen back, and then re-record them.” When she got the chance to push her first fader, she became love-struck with the idea of being the moderator for people’s sonic experience. “Plus, getting DJ rights between sets is fun.”

Like so many in the music industry, Rebecca fell into it by chance. During her Freshman summer break, she lived with her brother in Hawaii and worked as a cashier at the Hard Rock Cafe. It was there she met a roadie from KC and the Sunshine Band, and she asked him how she could get his job. He told her, if she could leave right now, she could have his. He mixed FOH, and they talked. Since she was attending college, he suggested she work for their campus performing arts center; learn sound, and get paid.

Rebecca answered a projectionist ad that fall when she returned to Colorado State University. It turned out to be more: the performing arts center which did the screenings had just purchased a brand-new PA in components. “I learned to use tools at that job, cut holes for the enclosures, load drivers, and wire the new racks.” She started to learn about signal path and processing and got to mix her first band, punk band Seven Seconds, in the university’s beer basement. “It was so awful and riddled with monitor feedback they stopped mid-show and ask if anyone in the audience knew how to run sound because it was obvious that she (and pointed at me) had no idea. Pin drop. I was mortified and totally hooked on understanding audio.”

After getting her BA from CSU in Communications, Rebecca worked for local venues as a stagehand, pushing speaker cabinets and loading trucks. She requested to assist the audio crew and then asked enough questions to drive the engineers crazy. She then got work at local sound companies where she attended the ‘University of Crash and Burn and Get Up Again.’ “My first real boss was really drunk all the time, and he’d let me mix even though I didn’t know what I was doing.” Rebecca has never taken a live sound class and does not support expensive schools that spit you out without real experience. She says, “all you need to know you can learn by starting at the bottom and can get paid for it.”

A year after school, Rebecca saved enough money, from stage-handing and freelance audio work, to move. She packed up her 20-year old Toyota Tercel and drove from Denver to San Diego. “I wanted to learn to surf, [it] seemed like a good plan − I’ve never liked wearing shoes.” After a week on a friend’s couch, she found a house and job working freelance for a large corporate production company Meeting Services Inc. doing hotel and AV work. She then got a house gig at a venue called ‘4th&B’ in San Diego, and it was there she met Fishbone. “They came through, liked what I did, and I left the following week on my first tour.”

Touring through the South at 21 years old opened Rebecca’s eyes. On a bus with ten black guys and one white guy, she had a gas station attendant refuse to sell her cigarettes. “He said they were sold-out of my brand while I pointed to a pack of them behind the counter. He said, ‘those aren’t for sale.’ I had no idea what was going on.” When she told the band what had happened, they semi-laughed. “You got off the bus with us,” Angelo explained. The band told her that in the South some people saw her as worse than a ‘n*****’ because she worked for ‘n*****s.’

Rebecca toured with Fishbone for two years, honing her audio chops. “Mixing a club tour tends to be your first step as an engineer. Its hard knocks, different gear, various spaces, nothing is ever the same. A lot of club gear it is broken, blown and bad, but that’s where I learned the most about phase reversal and troubleshooting. Clubs tours can accelerate one’s understanding of gear, rooms, stage volume and band dynamics, and how they correlate. Invaluable.”

Over the next few years, she would work for unknown R&B artists whose labels told her that they were going to ‘blow up.’ “I learned very little about audio during that time, as there were many promises for support tour slots with large artists, but none of that ever happened. All that ‘blew up’ was my credit card bill when I couldn’t get paid.” She ended up getting a house monitor gig at Humphrey’s by the Bay through the audio company Sound Image.

At Humphreys, she got to mix folk legend Nanci Griffith, and a week later Rebecca was on her way to Nashville for rehearsals for the Newport Folk Festival Tour. Nanci Griffith had a large band with around 50 inputs, mainly playing sheds. During the tour, she met Wilco who was traveling with little production and they ended up hiring her for the run. Rebecca found it incredibly rewarding working with such amazing artists and talent. After that tour, she became the ME for The Bangles and would work with them for over ten years. Rebecca says “I love them; fantastic people and musically wonderful. Truly”.

Rebecca has just wrapped up a 15-month audio contract job as Media Director, for the Tibet House, the Cultural Center for the Dalai Lama in NYC. “It was the first 40-hour a week ‘job-y job’ that had a title beyond ME, FOH, A1 or A2.” She took 30 years of analog recordings and converted them to digital, installed a webcasting system in their event space, and started broadcasting meditation classes and programming. “I was relatively unqualified for the archiving bit − I’ve never been a DAW whiz −, so I researched best practice for file transfers and archiving. I also learned audio compression and ID tagging for the web, along with streaming and international content delivery networks. The webcasting part felt more familiar; it was live, mixing audio and switching cameras for broadcast. There were some initial hiccups; internet bandwidth issues, audio aux crapping out. I learned that webcast audiences are less frustrated if the picture is compromised rather than the audio: if they could still hear the webcast fine, the phones didn’t ring with complaints. Of course, I’m a bit partial, but I believe that audio is more important than lighting and/or picture. Radio had told visual stories before TV was even on the scene.”

When asked what her goals are now, Rebecca says that “beyond living through President Trump, I’d like to keep building my skills in still photography. My website is www.rebeccawilsonstudio.com  I also write screenplays.”

What, if any, obstacles or barriers have you faced?

“I’ve put more pressure on myself to measure up as a ‘soundman’ than any man ever has. The biggest obstacle I’ve ever faced is my own inner critic, feelings of inferiority, and the fears of being broke, old and alone (but with a good pair of headphones of course).”

How have you dealt with them?

“I had to come to terms with the fact that just because my life looks different than most, it doesn’t mean there’s anything wrong with me or my decision-making. I still consistently throw myself into new, unfamiliar aspects, [both] audio and things in general. It’s a terrifying and sometimes stressful way to live, but I hear people express they’re afraid to die with a lot of ‘should have’ regrets, that they didn’t step off the pavement. I’ll certainly die with a few extra stress wrinkles, but smiling. No regrets. I would encourage anyone reading to not fall for the safety net trap. Of course, be smart, but if you’re on the fence, just do it. No personal richness or outward success ever comes without some humiliation and failure. Learning to use it positively is key.”

What advice do you have for other women, and young women, who wish to enter the field?

“Speaking from a live concert sound perspective, check your motive for going into audio engineering. Is it sensational-based? Or do you have an affinity for sound waves moving through the air? You don’t need to know until you get a little experience in it, but it’s something to think about. I feel a strange timelessness and focus while listening to music critically. Early on, I think I heard the world more than saw it. My stuffed animal horse was named Beep.

I’d like to add that when you mix and tour, there’s a good chance you’ll be tired a lot. The job is physically demanding, lots of lifting, pushing and standing, [and] lots of bruises and cuts if you’re me. The other day my boyfriend joked that I have construction worker hands. I went into the bathroom and cried a little. Then I gave him a kick-ass back massage. I love my hands and ears. They’ve enabled me to travel the world.”

What do you like best about touring?

“Seeing the similarities of how humans inhabit the Earth.”

What do you like least?

“Who I became on tour (1996-2000 at least). Touring gave me a professional excuse to separate from all the people and circumstances I didn’t want to deal with at home. I lived with complete impunity and isolation (it was the late 90’s, before cell phones). It turned out, being ‘on tour’ and ‘unreachable’ didn’t bring me any peace or freedom like I’d hoped because the problems weren’t back home. The problems were how I saw the world, more specifically, what I like to call the ‘golden carrot syndrome’: the belief that the better place or thing was just around the next corner. I was always in mal-contentment mode; I wasn’t a fun person. I lived on cigarettes, red vines, coffee, booze and breath mints. I’d become the touring ‘shot-out’ cliché by [age] 26. I took a year-ish off in 2001 to regroup. I was happy to find that the problem was me and not everyone else. I went back to touring without all that baggage. Two different lives doing one profession. Lucky. Wouldn’t change a thing.”

What is your favorite day off activity?

“I’d made a rule early on not to get aboard anything that went faster than 15mph on off-days. I walk a lot, lay on grassy mounds in quiet parks, I like to troll a place without a plan, try to get a feel for how it connects to the last place we just were. See art museums and do yoga. Whatever is quiet.”

Must have skills:

“Tenacity and kindness. If you’re a woman, don’t get hard and crass. Leave that to men.”

Favorite gear:

“Sennheiser G-series in-ear monitors with 3D molds by Sensaphonics. They change lives. The Westone’s triple driver pair is good too.”

Parting Advice:

“If you’ve read this far, you’ll probably really make a great soundperson. You’ve got dedication and longevity. Here are some non-technical things I’ve found that matter more than audio mathematics and algorithms ever have:

“The most valuable thing I can give a musician besides a feedback-free stage is my full attention. Try to always be scanning the stage for someone who needs something. During soundcheck I walk the stage and stand right behind them, listening from their perspective. If the band doesn’t soundcheck, and they struggle to hear. After the show ask about the experience. Be prepared for criticism, but communication is fundamental as an ME. If you don’t understand what they’re describing, keep asking questions. Lots of musicians lack the vocabulary beyond ‘tin can sound.’ Help them find words for what they are experiencing. If you can’t dial in a solution, look into a new piece of gear for it.

“Also keep in mind, some days nothing will sound good to them (or you) − don’t reset the console mid-tour because someone is hungover. The greatest enemy of ‘good’ is ‘better.’ If everyone is happy onstage, I don’t turn knobs, especially if I think ‘this will make it a little better.’ It’s a rabbit hole and changing things mid-song can really upset things onstage. Let the artist guide you. Once I get it up and running, on a good day, there’s not much to do.

“If things go wrong, GO OUT ONSTAGE. ME’s are usually listening in closets, as far as onstage crew. It’s our job. If the problem isn’t in your department, get the person who is responsible, if it is your department, trust that you’ll know a solution. One always comes. It’s a bit of gypsy stage magic. Don’t let the artist struggle out there alone.

“ME’s are there for mainly two reasons: One, to allow artists to connect to their instrument and what their bandmates are playing. Two, to give them [the artist] the sonic personal confidence to stand in front of a HUGE CROWD of people who paid a lot to hear them. Imagine how you’d feel if people shelled out a lot of money to hear you play and you couldn’t even hear what you are playing. I’ve been hit in the head with flying drumsticks and bottled waters because I was staring at the console for minutes on end. It’s a serious thing they and you are doing. Artists are out there totally exposed. It’s your job to give them clothes. Even if I have a bad feeling about a certain gig or day, I try and be calm when they come onstage; it transmits to them. Don’t do crack or Red Bull.

“Lastly, always have a spare vocal mic with a long cable. Always. And check it.

“Over and out − Rebecca.

“P.S. when you’re starting out, never call a cable a cord.”

More on Rebecca

Driven To Excellence: Inside The World Of Multifaceted Audio Professional Rebecca Wilson

Rebecca Wilson on Roadie Free Radio

Find More Profiles on The Five Percent

Profiles of Women in Audio

 

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