Whish & Wash

The inevitable spill from cymbals and electric guitars that bleed into open vocal mics often gives me trouble. One technique I use is to take advantage of frequency dependent downward expansion.

On a vocal channel, insert a BSS DPR901 EQ (hardware or software version) or a similar multi-band device and dedicate one of the bands – usually a wide Q around the 2 to 7 kHz region – to attenuate that frequency range and accompanying wash when the singer is not on the mic.

I solo the channel or listen to the key on the expander, carefully paying attention to how the downward expansion behaves. It’s a key to a natural sounding solution.

Things That Go Bump

Stage volume is always a consideration and challenge, regardless of the music style being reinforced.

Artists who learn to work within the space are a big help, yet even with the proliferation of IEMs, it can be an issue.

Eliminating some sources of energy on the stage can surely help both monitor and FOH world.

Common culprits are bass amp volume and drum fill bleed – both lower frequency generators. Things like drum set throne thumpers and vibrating plates can really help players feel those lower frequencies, much better than relying on loudspeaker fill.

Stereo Please!

Over the years, I’ve worked with many artists who insist on using “one ear” and a wedge. I understand why – it feels more natural and less disconnected, at least first.

The aversion to using monitors in both ears usually stems from having a poor experience early on with IEM, either due to the lack of a monitor engineer, unsatisfactory mix experiences, or a lack of gear to provide a true stereo mix (sends, audience/room mics).

I’m a big proponent of stereo and “both ears in” for three reasons:
1) The brain and auditory system function quite a bit more efficiently when listening in “stereo.” (Experimenting with listing in mono, then again in stereo, makes this concept quite clear.)
2) Volume can be reduced.
3) Separation/masking. This is a big one for me. I always start panning, in broad strokes, the relative position of the instruments to the artist (lead singer), which helps him/her find physical “space” on the stage.

Often one instrument is masking another, and panning slightly can help. (Tip: Pay attention to how one instrument or voice and its respective frequency ranges may mask another. Often, I gently reduce the 1 to 5 kHz region in other instruments to gain clarity in a vocal.)

Audience Mics

Wearing IEMs, even with a great mix and monitor engineer, can still produce a disjointed feeling in many artists. Introducing audience mics seems to help.

Pay attention to how these are positioned and pointed (not directly at the close audience), and also provide a heavy dose of high threshold limiting. Putting them on a VCA and riding in between songs, as well as at the top and end of the show, can deliver additional energy to the artists.

I also PFL (pre-fade listen) these inputs daily, listening for room abnormalities that need some EQ or polarity help.

Compression

I tend to add a bit of conservative soft knee compression, in varying amounts, to several inputs (such as vocals, acoustic guitars, horns, snare and keys).

In addition, I’m looking periodically at the mix output levels from the desk and input levels on the wireless transmitters, watching for average level and clipping. Gentle, higher ratio, fast release compression on the outputs seems to help keep things in check.

If running out of gas, I’ll have a quick chat with the artist, asking him to turn up his pack, as I simultaneously turn the corresponding mix bus down, restoring a better gain structure.