It requires more than just great FOH speakers to make great sound...

...But it doesn't have ears...

We can't begin to count the number of times that the artist inquires about the quality of the sound 'out front'. We have a saying: As much as we can MAKE it suck, we can't FIX suck. Audio production is as much experience as it is SCIENCE. Stage monitor placement is just as important as FOH placement, if not more. Stage volume (sound coming acoustically off the stage) can destroy the mix at FOH quicker than the drunk drummer trying to keep meter. Placement of amplification (which we will chat about later) and monitor speaker placement can make or break this.

Standing ‘on top’ of your monitor is the first wrong step. Multiple times when I have set up for incoming performers/groups, I have set the wedge where it is acoustically (scientifically) correct, only to have the musician pull it “to their toes”. Is this an exaggeration? Only slightly. If you’re one of these folks, here’s why it’s not a good thing.

If you’ll excuse the crudity of the following saying, I believe you’ll get the point: “Yes, you have a head down there but no, it DOESN’T HAVE EARS.” Yes, I know not all performers are of the XY persuasion. That being said, the spirit of the quote still applies. Standing on top of a stage monitor will require 2.5 to 3-times the volume for you to hear it. Why, you ask? You’re not on axis to the physics of the cabinet. If you can’t just simply move your eyes down/left/right to see the cone of the speaker, you’re not in the wave of sound. Most, not all, vocal microphones are designed to have dead areas or “drop-outs” in their polar map. Most of these are at the back (cord) end of the mic (we’ll call that point zero degrees) to about 45-degress both left and right. Best monitor placement is AT that 45-degree point (left or right) and far enough out that you can see the cone. Distance from you will be greater if you’re 6’1”, less if you’re more diminutive in stature. In this configuration, not only can you hear more (at lower volume) but the microphone is off-axis of the speaker, and you’re not killing the drummer with your mix to the point he can’t hear theirs.

In these days of "big PA", i.e. micing all instrumentation, stage volume kills the mix at FOH. The biggest advantage is this: You don't go home with such a severe case of tinnitus.😉

< Older Post Newer Post >

Proudly endorsing and supported by sE Electronics!

by Chris Ordiway • 19 July 2023

o Russell-Ashmun Audio is proud to share our support for sE Electronics! When I (Chris) was browsing at Sweetwater a couple years back, I came across an unusually-shaped microphone in the live audio department. Professional curiosity overtook me so, while looking over my shoulder for a sales rep, I disassembled this sE V7 microphone. I was intrigued by the mic element which was attached not to the body of the microphone, but on a 'stalk' giving it amazing shock resistance. Well, the price point was very nice ($79, at the time) and since we needed another mic in our gear, I bought one. Fast forward about three months...We're supporting a female artist who did not have a mic (rider specified SM57 or equivalent). I offered her the option to use the V7 and she agreed. At soundcheck, I 'preset' the EQ for a feminine voice as I would for an SM58. Surprise, surprise, the EQ was absolutely too harsh. I reset the EQ to neutral (0) across the spectrum and started over. Two small cuts were all that I needed both for FOH sound and Wedges. Much less work for a female vocal than with an SM58. Researching the curve I find that the 'industry standard' mic scoops out the frequencies for the feminine in favor of the masculine vocal whereas the V7 is much flatter, making it more versatile for both male AND female vocals. I have since replaced all of my 58's (minus one) with the V7 and several of our clients have moved to purchasing the V7 for their personal load-out. The sE7 condenser mics are phenomenal, as well. I have ordered a percussion mic kit and will test it out soon (currently using the Sennheiser e604's for kits, and will possibly remain with the B52 for kick) and let y'all know. If you want a very good, dependable, non-rolling (did I mention that the circumference of the windscreen has cutouts so it doesn't roll away?), easily EQ'd microphone that costs a third less than the 'standard', check it out for yourself! Best mics on the market price/pound! of your post goes here. To edit this text, click on it and delete this default text and start typing your own or paste your own from a different source.

Our First Blog (attempt LOL)

by Chris Ordiway • 10 June 2022

What gets under an audio engineer's skin? Here's just a few things (for laughs(?))