Creating monitor mixes

Since each performer may want to hear some instruments louder than others, the auxiliary sends (aux sends) are used to create individual monitor mixes. It works like a grid. Say you have two separate monitor mixes. The drummer has one mix (because they whine the most) and the rest of the band has another mix. We will send the drummers mix on aux 1. If for instance, he wants to hear more of his kick drum and the kick is on channel 1 of the board, you would turn up aux send 1 on channel 1. On the other hand, if he wanted more lead vocal (which lets say is plugged into channel 16), you would turn up aux 1 on channel 16.

Whenever you need to adjust something in the monitors, just:

1) Go to the channel of the instrument you want to adjust and

2) Go down the channel strip until you come to the aux send for the monitor mix you want to adjust. It works the same way for two monitor mixes or ten. Effects sends work in much the same way as monitor sends. For a simple setup I would use a reverb and a delay. While monitor sends leave the board and go to the monitors onstage, effects have to come back to the board, so that they can be mixed in with everything else.

In other words, just like the monitor sends are creating a little mix for a monitor, the effects sends are creating another mix of instruments that you want to add a particular effect to. For instance, if we are using an aux send for a reverb, we would go to the vocal channel and turn up that aux to put some reverb on the vocal. Then we might go to the toms and snare and put more reverb on them so they don't cover up the vocal. Then, this mix goes out of the send and puts reverb on all of this mix. The "reverb mix" can then be adjusted in to the rest to the mix. If you're not even sure exactly what reverb is, or how to use it, don't sweat, we'll cover that later. Don't get me wrong. Like anything else in life, it will require some effort...

BUT...if you are willing to put in that effort, I will give you all the information you need.

Once you start to grasp these concepts, you will have to avoid the second problem:

Thinking it's too easy

Don't kid yourself. Just because you're a musician (even if you're a great one) doesn't mean you can automatically tackle lighting and sound engineering. When musicians spend so much money in these areas, it's amazing that they don't spend more time learning to use the stuff.

Think about it... a guy spends ten years learning to play guitar. He has two grand invested in a nice Strat and a Fender combo. He goes out and spends five grand on a PA system and doesn't even bother to read the manual. Musicians just assume that sound and lighting systems run themselves...

...they don't!

Don't assume that what you're doing right now is "good enough" (This still applies to your individual tone, even if you hire out an independent sound contractor). People that settle for "good enough" always end up dead last. You don't want to end up there with them! ...if you really pay attention, you'll be amazed at what you'll learn. You'll eliminate the weakest link in your chain, so that people can really appreciate your music!

Sound engineers love to give advice. If you catch them with the right attitude, you'll learn a lot. After all, they have to sit in the back of the room all night. They'll gladly teach you everything they know about EQ and compression, just to have someone to talk to.

The point is... learn everything you can! There's a lot to sound and lighting. If you can master just a little bit of it, the difference will be like night and day for your band.

I suggest that you absorb the information in thisbook a little bit at a time. Otherwise, you're bound to miss something. If you play in a band (as opposed to being a solo performer) a good idea might be to divide duties between members.

Let one person learn about booking, while another gets involved in promotion, and another into sound engineering, etc. It'll make the task a lot more manageable.

One last point...

...please, please support each other! There's a ton of information out there, and it can be really overwhelming at times. Support other local musicians. If you find this site useful, tell your friends, so they can benefit too! This is a hard enough business to be in, without having to deal with bad attitudes! If you don't love what you do and you can't support other people trying to do what they love, find another profession...

... I hear there's lots of openings out there for used car salesmen ;-)

Now that you've discovered the other aspects of the music industry, it's time to take your career or hobby to the next level...

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