Farview Heights

FAQ

question:
And the last question: What about the Monitor level. Can I determine the maximum level by muting the master mix and try at what level the setup begins to feedback over the monitors? Or does someone know better ways?

answer:
In general the mix in the front-of-house should not affect the feedback situation if the mics are behind the PA speakers. Ringing out the feedback in the monitors can be done with the mains muted. For monitors, give the performers only minimum of aux signals they ask for to keep stage volumes and feedback at bay. Good, flat response monitors and and mics are key to feedback reduction. Also, proper aiming of mics and monitors assists in feedback reduction.

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Some helpful clues:
Feedback is caused by the mic picking up its own sound from the speaker. This may be because the speaker is facing the mic, or because the sound is bouncing around the walls and stage back into the mic. Sound is made up of many frequencies. This is why feedback sounds like a steady 'tone'. When feedback starts you hear a 'ringing' sound at that frequency, usually enough warning to act fast and pull the level back. If you let it continue it grows to become a shrill tone that can reach maximum PA level if left unchecked. It can be quite effective in clearing the hall!

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The engineer should be mixing the house so that it sounds right no matter what the band is doing (within reason, of course). He should also understand what changes need to be made in the monitor mix when, for instance, the acoustic guitar player who's just played finger style picks up his bagpipes and puts them in front of his guitar mic. This is why you have (in order of effectiveness) rehearsals with a sound system and engineer, a sound check before the show, a set list with cues where changes to the mix will be required, and an engineer who's paying attention. When something is blasting out in the mix, the engineer shouldn't need to be told by a musician on stage to turn it down.

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