In smaller setups, it is just the one mix for the whole band, but they need close monitors so they are all in time and can hear each other play cleanly. Monitors also mean that they have a good sound instead of the dulled sound of outward-facing speakers. Time Delays The thing is, sound takes time to travel. Individual Mixes Another reason for having monitors is the requirements of the band members. More Stories 6 min read.
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How to speed up podcast editing in Reaper. Do you need a MIDI keyboard for producing music? The front of the mic is at 0 degrees. Note that the areas of maximum rejection for this pattern are roughly degrees off-axis on either side.
When using a super-cardioid mic, if you place a single monitor at the rear of the mic i. For those reasons, super-cardioid vocal mics are more conducive to configuring two monitors, one on either side of the performer.
The maximum points of rejection for a hyper-cardioid mic are more like and degrees off-axis; place the wedges accordingly. We know that one of the goals of a monitor system is high gain before feedback. As long as it was loud, the talent would be happy. Fortunately, times have changed: Microphones are better, and so are monitors. Musicians have become conscious of their stage volume and their hearing. But feedback is still a possibility, so use the technique of ringing out a monitor to reduce feedback while being able to make the monitor loud.
In the old days, engineers would have a rack full of band EQs: one for every monitor mix on stage. A monitor send from the mixing desk would be patched into a graphic EQ; output from the graphic EQ would be patched into a power amp, which would then feed a monitor, or possibly a pair of monitors; see Figure 4. A club hosting national acts would usually be able to supply eight monitor mixes, which required eight graphic EQs and at least eight power amps.
The best PA speakers the best compact live sound systems for bands and buskers. Why not use the channel EQ to fix monitor problems?
There are many reasons. This idea also assumes that the monitor sends are tapped from the channel after the EQ—but it is very possible in fact, likely that the pre-fader sends are also pre-EQ, in which case the EQ does not affect the send anyway.
Check the manual to be sure. Channel EQ is not really the right tool for EQing monitors, anyway: The bands in a graphic EQ are relatively narrow, disturbing as little of the surrounding frequencies as possible, but the bands in a channel EQ tend to be broad and more gentle, in particular, on the low- and high-frequency bands.
Nowadays, EQ processing takes many forms: Most digital mixers feature either a graphic EQ on every output, or several graphic or parametric EQs that can be soft-patched across the sends of your choice before they leave the console. These builtin EQs greatly reduce the amount of hardware, wiring, and space dedicated to monitor world. Regardless of whether you are using hardware or software processing, whether you are mixing monitors from the front-of-house console or a dedicated monitor console, the process is almost always the same.
The equalisation and mix used in a monitor will usually differ from what is used in the front-of-house system, and if there are enough auxiliary sends available will usually differ from the EQ and mix in any other monitor. For information on loudspeakers and drivers, please see the section on full-range cabinets. Most monitors are similar to small full-range cabinets, and many manufacturers now make multi-angled loudspeaker cabinets so that the same speaker can be used in either role.
However, dedicated monitors are also available and these often have different dispersion characteristics many dedicated monitors have a conical pattern : a monitor's main purpose is to achieve moderate to high sound pressure levels in a small area.
If the sound spreads too widely or too far it can spill into vocal and other microphones. Much as with any other speaker, you send the mix for each monitor to its own amplifier or crossover and amplifiers, if it needs to be bi-amplified , and connect the amplifier to the monitor using loudspeaker cable.
Vocalists often want and depending on the backline levels also sometimes need to hear their own voices at high volume. Also, vocal mics frequently need relatively high channel gain. Finally, a vocalist's ears are inevitably very close to his or her microphone. This means that feedback from vocal monitors is a constant threat, and frequently an actual problem.
Because of this, positioning and equalisation of the monitors can be much more difficult that it is with front-of-house speakers. Ideally, the sound from a monitor should get to a particular performer's ears, and nowhere else for this reason, in-ear systems are becoming increasingly common, and have a lot to recommend them.
If a cardioid microphone e. Shure SM58 is being used for vocals, position the microphone and monitor so that the microphone is pointing directly away from the monitor. This places the monitor where the microphone is least sensitive, and will give that monitor several extra decibels of valuable feedback rejection. If the lead singer or any vocalist has to have two monitors - the real need for this is debatable - it is better to use a hypercardioid mic e.
Shure Beta 58A if one is available. With hypercardioid mics, try to position the monitors so that the back of the microphone is about 60 degrees off axis from the high-frequency horn also, try to angle them so the high frequencies miss the microphone but get to the vocalist's ears.
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