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Favorite Stage Monitor
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<blockquote data-quote="Tim McCulloch" data-source="post: 122963" data-attributes="member: 67"><p>Re: Favorite Stage Monitor</p><p></p><p></p><p></p><p>The other option is to have a few monitors with more LF output, and keep a bigger batch of "vox only" wedges whose design (mechanical or electrical) creates a significant HP filter.</p><p></p><p>But I think Tom M has a point- ultimately the BME is going to use the assets to make his/her artist happy no matter what it does to the house sound. End of story. I'd also submit that of the audience attending an event such as Tom describes, only 0.01% of them will give a shit about subwoofer/LF pattern. </p><p></p><p>Not a hip-hop gig, but relevant: Several years ago we had a gig with Delbert McClinton; his mixerperson set monitors with our ME. There was a whole bunch of 120-250Hz in every front line wedge, and with an overall level guaranteed to create problems in the FOH mix. I mentioned this to him and his reply was "Delbert signs my check, and if he doesn't like the way his voice sounds when he says 'hello' to the audience, he stops signing my check." The BE had to add so much HF to cut over the stage SPL (mostly wedges) that about 20% of the audience left in the first 3 songs. I have no idea what Delbert expects these days, maybe he's on IEMs now.</p><p></p><p>YMMV and all that... and in principle I agree with your observations, Jim, but the _artiste reality_ presents challenges that we have to accommodate regardless of impact on other things.</p></blockquote><p></p>
[QUOTE="Tim McCulloch, post: 122963, member: 67"] Re: Favorite Stage Monitor The other option is to have a few monitors with more LF output, and keep a bigger batch of "vox only" wedges whose design (mechanical or electrical) creates a significant HP filter. But I think Tom M has a point- ultimately the BME is going to use the assets to make his/her artist happy no matter what it does to the house sound. End of story. I'd also submit that of the audience attending an event such as Tom describes, only 0.01% of them will give a shit about subwoofer/LF pattern. Not a hip-hop gig, but relevant: Several years ago we had a gig with Delbert McClinton; his mixerperson set monitors with our ME. There was a whole bunch of 120-250Hz in every front line wedge, and with an overall level guaranteed to create problems in the FOH mix. I mentioned this to him and his reply was "Delbert signs my check, and if he doesn't like the way his voice sounds when he says 'hello' to the audience, he stops signing my check." The BE had to add so much HF to cut over the stage SPL (mostly wedges) that about 20% of the audience left in the first 3 songs. I have no idea what Delbert expects these days, maybe he's on IEMs now. YMMV and all that... and in principle I agree with your observations, Jim, but the _artiste reality_ presents challenges that we have to accommodate regardless of impact on other things. [/QUOTE]
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