Contents

The perfect sound check

A good sound check is indispensable for a successful concert. He supplies the basis for a balanced sound. So that the cooperation between sound technicians and musicians is working excellent, helpful tips are presented. First, however, the preparation is important: the Technical Rider.

The duty before the freestyle

The Technical Rider

The Technical Rider is also called Tec Rider and is a stage instruction, so that the mixer can be prepared in the location prior to the performance of the technical equipment. It contains all important information. He secures the band so that they have everything available on site and is preserved from unpleasant surprises. He must always be updated. Finally, the playlist, the repertoire and add-on instruments can change and thus the requirements for the sound engineer. What should be wired, must be communicated beforehand. Emergency solutions can then schedule any professional sound engineer. An example of a rider is the following listing:

  • 1 x bassdrum
  • 1 x snareDrum
  • 1 x hihat
  • 2 x Toms
  • 2 x crash basins
  • 1 x ridebench
  • 1 x bass amplifier
  • 1 x electric guitar amplifier
  • 1 x stereo keyboard
  • 1 x lead singing
  • 2 x background singing

So the technician can superior to a patch plan. The number of musicians is the second information, because the number of monitor boxes must be planned as well if no in-ear system is used. This information should also stand on the Rider. In addition, the frequencies used in mono and stereo must be noted. In addition, a stage plot, ie the position of the individual musicians on stage, must be noted. A contact address is also part of the Rider so that questions and special requests relating to the sound can be clarified in advance. Even wishes for catering belong to the Rider. Whether microphones, tripods and wiring are desired by the location should also be listed. Sample Rider is available on the Internet as a template.

General information on the SoundCheck

At the sound check only signal sources should be offered, which are also used in the appearance. It should sound good every single drum of the drum set, but metric adjustment for unused Toms robs unnecessary time. The volumes of sounds should also be compared. At the keyboard, for example, the played sounds should already have the same volume. The guitar effects should also be aligned with their Cleans and Overdrive effects.

The chronological order

First, you start with the sound check of the drum. They follow bass and harmonic instruments like guitar and keys. Finally, the singing is tuned. Sound check discipline is mandatory, but often a chaos can arise because there is much to pay attention before the appearance. Ideally, the clayman should be able to work focused and tailor the order with the individual musicians. Helpful is a song to use the setlist as a sound check song. If dissatisfaction occurs after the first pass, the band members should manifest their wishes one after the other. For the corrections, the band should also be patient.

The singing sound check

All dynamics parameters should be covered: loud, quiet, effects and different singing sounds. Especially in the vocals, it is important to sing loud enough to keep the distance to the microphone constant at a constant vocal volume and thereby offer the stage technician sufficient buffers to be put out louder on the monitor. Such noise and feedbacks fall away. Because the singing is the weakest instrument of a live performance, other instruments should be made quieter if necessary. Also the position of the drum is worth considering. Some bands do not prefer the center of the stage directly behind the singer, but a different position.

The MonitorSound

Balancedness is very important to singing. If you do not hear, you tend to go to Schiefsing. At multi-part singing, the background should be well heard, but do not cover. Hall gives the singing part room. Band instruments should be placed on the singing monitor, which are not well heard on stage by the singer and needed for intonation, rhythm and timing. The own micro also helps for safety, but short experiments with other microphones offered, for example, by the clubs, should not be compulsorily rejected. It may be that they are more likely to the sound of the location.

Check feedback zones

When the micro is held in the hand, it should be kept quietly and with angled arms, so that no feedbacks can occur. The capsule should show up, if not sung. Again, the micro is held back to chest height. Feedback zones should be deleted at the Soundcheck if the singer moves with the micro in hand on stage.

Further interesting content over the perfect sound check can be found on the pages