Once you’ve gathered all the information above, you can start laying out the foundational document that will dictate much of the setup from here on: the input list. Do your homework by researching the act, watching performance videos or reaching out to colleagues.Identify any equipment that could present complications, such as digital controllers or vintage organs.Figure out who will be providing any backline equipment, such as amplifiers and drum kits.Assess the talent’s experience, expectations and technical knowledge to communicate effectively.Reach out to managers, technicians and other personnel for additional information.Review any stage plots, riders or other documentation sent by the talent.Review any stage plots to determine what equipment you will need and what can be removed from the stage. The checklist below outlines key steps you can take right away to ensure that everything goes smoothly. Any work you can do beforehand will pay off when the pressure is on, and it all starts in the days leading up to the show.Īlthough it’s usually not possible to do much physical setup before the day of the show, any advance planning you can do now will make your job easier later on. Once the performers show up for soundcheck, the pace and the stakes increase dramatically, so preparation is key to a successful show. The period before the talent arrives at the venue is your chance to get everything set up and prepared at your own pace. Ensuring that the stereo image matches the stage layout is critical to creating a cohesive show.Įvery production consists of two distinct time frames. When the sound coming from the PA doesn’t match what the audience sees, this cognitive dissonance can detract from the experience. When everything fits neatly into the frequency spectrum and time domain without interfering with the other elements, your mix will sound richer and clearer. In an effective mix, every instrument, vocal and sound must have its own space. You can always improve the sound, but you need to start somewhere. At the most basic level, this means making sure every input is receiving a clear signal with no hum, noise or feedback. Before anything can sound amazing, everything has to sound good.
The three pillars outlined below represent the fundamental elements of a good mix, and will inform every decision from here on. When working with unfamiliar acts multiple times a week, it’s not usually possible to develop a specific approach for each performance-especially with limited time to prepare. Assuming several known factors, such as the venue itself and a house PA system, these strategies provide a framework for approaching unfamiliar situations with confidence and achieving great sound-every time. This blog will provide strategies for successfully navigating any kind of production, from the earliest stages of planning and paperwork all the way to soundcheck and showtime. From solo performers and jazz trios to larger chamber ensembles and theater troupes, the wide variety of possible formats and genres demands a flexible and efficient workflow to make each show a success with minimal prep time. Option to scale instruments and risers to stage size (smaller).Staff sound engineers at venues often have to accommodate wildly different types of acts each night, each with their own technical requirements and logistical challenges.
Ability to bring instruments to front or send to back via menu. Lock instruments horizontally or vertically relative to size of stage.
Lock instruments by distance to sides or bottom of stage. Ability to save groups of instruments to reuse. Many instruments, including percussion, strings, horns.
Finally, an application dedicated to creating stage plots for professionals. Keep your stage layout, input list and monitor mixes all on one page to print or e-mail as a JPEG. Create professional, accurate, and easy-to-read stage plots for stage managers and sound engineers.
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