stage sound editing

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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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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I'm new to the "live sound" terminology. Indeed, the sound man is FOH. There is no stage sound man.

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