Canadian Musician - September/October 2020 | Page 60

LIVE SOUND
This column is an excerpt from a full feature story in Professional Sound magazine, Canada’s top
publication for audio industry professionals. Learn more at www.professional-sound.com.
A Meeting of the Mons
Part 2: Top monitor engineers on establishing a good working
relationship with an FOH engineer
Canadian Musician: How do you go
about establishing a good working
relationship and level of communication
with your counterpart at
front-of-house (FOH)? What are
the traits of a good FOH engineer,
and what goes into ensuring a
successful, mutually-beneficial
experience?
DAVE DONIN (Alessia Cara):
I shared this one with David Haines,
our FOH engineer with Alessia Cara,
and he says: “Mutual respect, clear
communication, objectives, and
motives, and clear leadership. I find it
easier if one soundperson is directing
soundcheck rather that two, and I
prefer when mons is leading as I find
troubleshooting and creative problem
solving happens quicker and more
efficiently from the one on deck than
from the ‘voice of God’ at FOH, who
often isn’t privy to the chaos on deck –
especially in a rushed festival changeover
situation. When mons is driving,
operations can adapt on the fly more
naturally and efficiently than when
directed from afar. Both ends of the
snake need work together symbiotically
for the greater good, not just for
their needs or to satisfy their ego. We
all sink if there’s a weak link, and we all
rise if we support each other.”
KATRINA GALBRAITH (Walk Off the
Earth, The Tea Party):
I’ve been lucky enough to work and
tour with some great FOH engineers
over the years. Working as a team and
being able to communicate clearly
with the FOH engineer is important.
Compromise is also needed – the loud
stage volume of a rock band can cause
the two engineers to clash.
DEBBIE HUTCHINS (Jann Arden):
Communication and teamwork. Do
your homework and then show up
and have a good gig. Communication
starts before the gig with calls and
emails, and then continues at the gig
with talkback mics, squawk boxes, or
walkie talkies, etc.
ROB NEVALAINEN (Bryan Adams): I
think it’s really important for an FOH
mixer and a monitor mixer to be on
the same page. Quite often, before I
begin to work with a new FOH partner,
I want to make sure that we are
both pointed in the same direction.
I understand that we will probably
have different ideas or methodologies
to achieve our goals, but it is
important to work together to make
sure we each get the most out of the
equipment we have chosen. I always
go into it with an open mind, and
quite often I learn things.
MIKE ROWLAND (Daniel Caesar,
Marianas Trench):
Great question. There are many factors
in creating that solid relationship.
Having a respect for each other’s
position is where it starts. Through
open communication, experience, and
willingness, you can help each other.
Working through technical problems is
always a good gauge of this dynamic.
Also, more specifically on the sonic
front, it becomes more apparent in
bigger and more challenging venues.
You obviously can’t change it but
through working together, you can
help each other by manipulating that
room sonically to ensure it is as calm
and controlled as possible, or vise-versa
if you need something more on
deck or out of the mics.
DAVE THIEL (deadmau5, Lights):
An immediate and clear layout of personal
expectations and roles is a must.
Whether we’re working together for a
day or a month doesn’t matter; quickly
adapting ourselves to the situation and
providing a flawless and consistent
performance does matter.
60 CANADIAN MUSICIAN