Nord User Forum

[cphollis]

Don't know if I've commented already. Too lazy to go back and check

Most of my gigs are small bar gigs. The PA is for vocals, and little else. I love stereo effects: leslie, chorus, reverb, etc. So, yes I play in stereo 99% of the time, unless sound guy gives me the stink eye, and then I hand him a mono feed.

Not worth arguing about.

Most sound guys in my world sort of suck. I hand them stereo, and they look at me with this quizzical look. OK, fine, you don't know how to do stereo, here's something you can handle.

That being said, I've had a couple of experiences where sound guy said "you do stereo keys? awesome" and all was good. Can't force it.

[smcelyea]

Don't know if I've commented already. Too lazy to go back and check

Most of my gigs are small bar gigs. The PA is for vocals, and little else. I love stereo effects: leslie, chorus, reverb, etc. So, yes I play in stereo 99% of the time, unless sound guy gives me the stink eye, and then I hand him a mono feed.

Not worth arguing about.

Most sound guys in my world sort of suck. I hand them stereo, and they look at me with this quizzical look. OK, fine, you don't know how to do stereo, here's something you can handle.

That being said, I've had a couple of experiences where sound guy said "you do stereo keys? awesome" and all was good. Can't force it.

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[smcelyea]

Boy, I have seen that "Stank Eye" a lot in my career. I run a stereo Mon system for my keys, yet often have to send a mono out to the house. I actually get better Sound from my monitors than the trash that often comes out in the house... sadly aggravating on the smaller gigs. But hey, I just play in the group. If it was MY band it would be different. Sometimes I think I should just put my Turbo's on tripods and point them toward the house. I could better blend with the guitar guys that have their amps facing the house.



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[danrv]

Sometimes I think I should just put my Turbo's on tripods and point them toward the house. I could better blend with the guitar guys that have their amps facing the house.

Yes, why not? I have a pair of these for my DXR's.
https://www.amazon.co.uk/gp/aw/d/B00GOQ ... ref=plSrch

I usually only use one facing FOH. If there's stage space I have the other speaker in a floor monitor position.

[Mojojojo]

I believe left is generally mono…..I had mono once in highschool, it was exhausting

[Normski]

Spend most of my life as roadie, live sound, recording engineer, musician, then worked in computers and ended up back in audio before I retired. So reading threads like this are always humourous to me it's always blame the soundman. So one things depend on the size room and wide spread keyboards in a large room only the people in the middle are getting stereo and rest of room is only getting one side or other of your keyboard. So stereo in a large room just tell the guy you want some spread nothing drastic. Think of it more like mixing a record you don't want everything spread wide that for special effects, you want to place instruments in a position and widen them up.

If you want good sound for your band and for you have your own soundman who get to know the band and the material. Then they can work with the house sound crew. If you have a lot of keyboard get your own keyboard tech and a mixer to mix you. I worked a Yes tour back in the 70's and even back then the keyboard tech had a small Tascam mixing console all the keys went into, he mixed and sent signal to the FOH board.

If you can't afford your own soundman and have to use the whoever the house hired for sound they probably don't know your band, your material, or you so they are there to make sure your whole band's sound gets out to the room and that when they hear solos or vocal parts that need to be more up front handle it. Best thing to do is write out notes about your band, things you want emphasized, and if any special things that go to listen for and give it to them before sound check. Polite communication is your best friend. I've worked showed with really big name acts and their egotistic manager or soundman making demands ended up screwing them at showtime. One very big group that was all about the vocals bitched and bitched about their monitors every night even though they were getting rave reviews on FOH sound. So one night we put our whole attention on the monitors for the band. The singers loved us and the reviews were not good for that night, so singer backed off bitching so much about monitors for rest of tour.

Now I have my own gripes about most sound people today, most are wannabe recording engineers and mix live shows like they are mixing a record. Live sound and records are two drastically different things and sound people and musicians need to understand that. I see sound people now with headphones on all the time I know sound isn't going to be good. In live situation headphones are for balancing vocals, balancing drum set and pretty much that's it the rest needs to be checked by listening to the sound in the room and check or have people checking sound in various parts of the room. The sound persons main job is trying to make sure people in any part of the room are hearing everything.

<off soapbox>

[Winds]

In live situation headphones are for balancing vocals, balancing drum set and pretty much that's it the rest needs to be checked by listening to the sound in the room and check or have people checking sound in various parts of the room. The sound persons main job is trying to make sure people in any part of the room are hearing everything.

That's fascinating. I always thought the live and studio situations are synonymous in terms of mixing. I'm referring to the principle where people usually say if the mix sounds good in headphones it should sound good anywhere else.. but in this case, you are saying this is not exactly true?

[MarkJames]

When I set up my keyboards I’ll get a look like “how many channels do you need?” But I just need a stereo pair as I do my own sub mixing. 99% of the time it’s fine to run in stereo.

[PScooter63]

In live situation headphones are for balancing vocals, balancing drum set and pretty much that's it the rest needs to be checked by listening to the sound in the room and check or have people checking sound in various parts of the room. The sound persons main job is trying to make sure people in any part of the room are hearing everything.

That's fascinating. I always thought the live and studio situations are synonymous in terms of mixing. I'm referring to the principle where people usually say if the mix sounds good in headphones it should sound good anywhere else.. but in this case, you are saying this is not exactly true?

Let me just jump in and say - and this goes for indoor venues - there’s an art, a discipline, even a talent, to getting your sound to work WITH a room, rather than indifferently or even against it. You can’t get around the sonic physics of a room, and its effect on your sound.

For my part, I prefer running in stereo even in a dance floor situation because while literally no one will hear that perfect “headphone” image, things like pan and Leslie will still careen and swirl off the walls in unpredictable and cool ways, which you’ll never get in mono. Most listeners will never notice, but some will, and they’ll love it.

[docbop]

In live situation headphones are for balancing vocals, balancing drum set and pretty much that's it the rest needs to be checked by listening to the sound in the room and check or have people checking sound in various parts of the room. The sound persons main job is trying to make sure people in any part of the room are hearing everything.

That's fascinating. I always thought the live and studio situations are synonymous in terms of mixing. I'm referring to the principle where people usually say if the mix sounds good in headphones it should sound good anywhere else.. but in this case, you are saying this is not exactly true?

Every room is different and the sound within the room changes as people come and go their bodies are sound diffusers. That's also why good sound people either move around the room to check different area or have people doing it for them and reporting back. This same as bands that have versions of songs they play live that differ from recorded versions. Two totally different sonic spaces to fill.