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[Roland Clarke 1964]

Seeing you client as your adversary, that can't have a good outcome.

No matter how bad it is, speak to the offender.  Work as a team to resolve issue.  Everyone should be reaching for the same goal, a good performance.

I have often ended up being the voice of reason for bands with internal conflicts.

I did have a guy, in a very similar situation, do the same thing.  Announced over the PA 'sorry we sound like sh#!, I didn't expect the sound guy to f#@k me in the a&&'

At the end of the gig I got the "do you know who I am you will never work in this venue or town again".  In the beginning I took it hard, it was one of my first posts here and I got great advice.

In the end I looked at my role, what I could have done better and continued to polish my skills so I had tools to deal with these type of encounters.

I even have a courteous relationship with the musician these days.

Covey says in the 10 Habits of Highly Effective People, "seek first to understand, then to be understood". Great wisdom

+1 

[Cailen Waddell]

Re-reading last nights post, I may not have accurately conveyed my philosophy.  Our goal as a venue (and that's different than being a provider sometimes) is to help our clients have the most successful show they can.  When we encounter poor mic technique or really any other issue, we attempt to educate, however, and this happens given the diversity of performers, cultures, or experience levels, some of them don't get it, or don't care.  Depending on the situation, I or another of the production managers will speak to the promoter/client who often isn't the performer, who also may or may not care.  Depending on reactions, and if everyone else has made it clear they don't care, my staff knows to be as helpful as possible but not kill themselves.   It's the shit in, shit out theory.   We can't clean it, just make brighter with lights, louder with sound, etc.  If the performer demonstrates they don't care about the quality of their performance, I can't really care too much either.  That said, this is the exception, not the rule, clients are not the enemy.  If you do it right, and are able to convey to the promoter/client the issues, you may gain a client for life.


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[Mike Monte]

I realized the other day that I haven't actually rung out monitors at any show/event for over a year. Maybe longer. Haven't felt the need. Literally hasnt even entered my mind for quite some time.  I do tend to use the same mics and monitor combo at every gig and have a saved EQ setting for them, so that probably is the contributing factor.

But even gigs where I'm using a different speakers for monitor duty, it seems I've been leaving the 31 band flat, out side of a HPF, and have even gotten a hint of feedback.

Just wondering with all the advancements in speaker technology if others are finding that they rarely ring out monitors as well?  Just wondering if this is becoming the norm or if I'm playng with fire by not doing it?  Maybe I need a reality slap.

Since I started using Bose 802's and 402's for monitors I have never had the need to ring them out.  I receive nothing but compliments from bands on my monitor rig.

Mike M

[George Dougherty]

The biggest problem I have these days is that I'd like to cut some stage build up and further improve intelligibility but amateur singers want this big booming FM DJ sound when they talk.  Then complain when they can't hear themselves over an overly loud band.  So I still have to do some ringing out to maximize the levels, further aggravating the stage build up.  Maybe what I need is some sort of side chain frequency selective ducking, but I'd rather not deal with the extra outboard.  Maybe someone will program this into one of these small digital boards.

My default monitor EQ has the low cut engaged about 100Hz and a 3-5db dip in the 240-300Hz range.  Most of my stages are smaller so that may get backed off depending on the space.  For the most part it helps to keep monitors more clear on stage and give me more breathing room out front.  On stage in those situations has to deal with a similar muddy wash from FOH as FOH does with a flat EQ and too much volume from monitors.  If I'm keeping one or the other flat, FOH wins.

[Luke Geis]

I am pretty much in the same boat. I have come to the conclusion that if it's already loud enough to begin with, then stability is the only thing of concern. I simply engage a HP filter around 160hz or until significant bass and boom are gone. I let the band do there thing and if I get a peep, I deal with it then.

I have also lately been 100% digital so I usually copy channels to a dedicated monitor channel. Instead of EQ'ing the whole monitor mix, I will solve the problem on a per channel basis. My firm belief is that the monitor is not meant to sound good, it is meant to be heard. If you can get the level you need without issue, then you can make it pretty. I figure there are two ways to set up a monitor rig. For love, or for money. I shoot for money first by allowing for volume, then when I have more than I need  go for love and make things pretty. This for me usually means leave it alone till there is an issue. Make the PA work for you, don't work for the PA.

[ProSoundWeb Community]