SOUND TECH
[ 10 TIPS FOR MIXING MONITORS FROM FRONT OF HOUSE | Kent Margraves ]
2. PRE-FADER VS. POST-FADER AUXILIARY SENDS 4. DOUBLE-PATCHING
the FOH console, or from on-stage personal This is critical to understand for monitoring. Consider a vocal where a different EQ is
mixers. This discussion is specific to mixing Pre-fader send levels are independent of the desired in the monitor mix than the house
monitors from FOH. This dual function creates channel fader. Post-fader sends levels are mix. Patching a source into two channels and
a much busier job for the FOH operator. Instead relative to the channel fader. Pre-fader sends assigning one to FOH and one to monitors
of building one mix (for the audience), we may are a common choice so that the monitor levels (only) is a workaround. Maybe an aggressive
be building a dozen or more. It’s do-able if don’t change as the faders (house mix) are compressor is used for FOH, but not monitors.
wisely set up and properly sound checked, moved. But post-fader makes sense for any Note that there are drawbacks of doing this that
but can quickly become a nightmare if not sends the operator intends to actively blend sometimes result from detaching the musician
managed well. Great monitor mixes mean a in the monitors. Choose and set up pre/post from the feel of the house sound (particularly
better FOH mix - musicians play better when switches accordingly. A busy combination of with in-ear monitors).
monitors are inspiring. If you play, you know. both is not uncommon.
Stage monitors (wedges or in-ears) may be
mixed on a stage-side monitor console, from
We might use a dynamic EQ or multiband
Here are ten tips:
3. INPUT CHANNEL PROCESSING
compressor to manage proximity effect on a
1. GAIN STRUCTURE
vocalist who intermittently leans in close and
Should artists hear input channel equalization gets muddy. Great! That means a better FOH
As with FOH mixing, gain structure comes first. and dynamics as adjusted for the house? mix. Whether we want that processing to be
Adjusting monitor mixes before input gains are Maybe. It depends. Typically, aux sends are monitored depends on the situation. Sending
finalized is counterproductive. Finish setting derived post processing (some consoles can be that to the vocalist’s ears sometimes works.
input gains before tweaking monitor mixes. On changed) and the operator should understand But sometimes it makes the vocalist sloppy
some consoles, digital trim and gain tracking that changes to compressors, gates, EQs, etc. with their microphone technique. It might be
helps manage any subsequent clipping. If are heard on stage. This may be great, but can better for them to monitor their vocal without
clipping beyond early sound check is more be awful. Take care not to “wreck” monitors that processing, or with alternate processing.
than occasional, there’s a musicianship issue with inappropriate processing such as gating Again, double-patching allows independent
to be addressed – it’s called “sand-bagging”. toms in the drummer’s monitor mix – a quick processing for monitors.
way to make an enemy
30
March 2018
WorshipMusician.com