“Secrets To Getting More Gain (Or Volume) Before Feedback” (Part 2) #techtuesday Anybody who works around audio in any capacity knows what feedback is. Most of us avoid this like the plague, but often in the heat of battle, er performance, there’s that telltale ringing at the end of a word or chord that is your warning that the system has reached maximum acoustic gain. In other words, it won’t get any louder. Often feedback occurs when onstage monitors are too loud. This happens when the stage volume onstage has gotten out of hand and the performers are having trouble hearing vocal and important timing clues. This is bad for two reasons- 1. Higher stage volume means the main, or “front of house” sound is colored as audio from sources onstage “bleed” into microphones that are supposed to be picking up something else. A good example would be a vocal microphone that is picking up the guitar amplifier. This makes getting a clean clear mix out front nearly impossible. 2. The other main reason is that everyone onstage is subjected to sound levels that are too high to safely listen to all night long. The drummer will have to play harder and will tire faster, the singers won’t hear subtle timing and harmony clues that they rely on to give the best performance, etc… Placement of the floor monitors is one important key to solving the problem. Loud instruments like acoustic drums or a guitar amplifer also play a part in what the performer is dealing with audibly onstage. Get out from behind the console and up on stage to learn what they are encountering. Often moving thjngs around (even small amounts) can help improve the situation, giving you a better performance to mix out front. The best monitor engineers in the business will all agree- “Quieter on stage means better sound out front!” In part 3, we will go a little further in the on stage monitoring subject.
Posted on: Tue, 20 May 2014 17:00:01 +0000
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