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<blockquote data-quote="kristianjohnsen" data-source="post: 59550" data-attributes="member: 441">Re: pre-setting side-wash content....I would start out with all vocal mics in the side fills and nothing else.&nbsp; I would set the levels in such a manner that the right side mics are stongest in the left side side fills and vice-versa.&nbsp; Middle mic equally strong in both.&nbsp; I&#039;d set the levels so that when someone speaks into a mic, anyone else on stage hears the sidefills at a level similar to someone standing right in front of whoever was talking.In other words, the idea being that if someone is using a vocal mic, anyone using that mic can be heard at a &quot;natural level&quot; anywhere on stage.I&#039;d arrange my settings so that a &quot;0 dB&quot; reading on the inputs meter of the vocals channels resulted in the desired acoustic level from the side fills.&nbsp; Once the band gets going or line checks I&#039;d &quot;mix on gains&quot; so that whatever you hear correlates to whatever they are hearing on stage - or always aim for 0dB on the inputs, whatever works best.&nbsp; If you need you preamp levels static for recording, I&#039;d consider using post-fade sends for the sidefills instead.If anyone requests more level of a vocal mic than what is presented in the side fills, or requests another channel, I&#039;d go for the floor wedges as those, at least in theory, are spot monitors for individual performers.Considering this is a jazz gig I&#039;m typing under the presumption that the band balances themselves somewhat on stage.&nbsp; If levels are all over the place, then the side fills need to be utilized like any floor monitor with a mix built from scratch in each instance.</blockquote>

[QUOTE="kristianjohnsen, post: 59550, member: 441"] Re: pre-setting side-wash content.... I would start out with all vocal mics in the side fills and nothing else. I would set the levels in such a manner that the right side mics are stongest in the left side side fills and vice-versa. Middle mic equally strong in both. I'd set the levels so that when someone speaks into a mic, anyone else on stage hears the sidefills at a level similar to someone standing right in front of whoever was talking. In other words, the idea being that if someone is using a vocal mic, anyone using that mic can be heard at a "natural level" anywhere on stage. I'd arrange my settings so that a "0 dB" reading on the inputs meter of the vocals channels resulted in the desired acoustic level from the side fills. Once the band gets going or line checks I'd "mix on gains" so that whatever you hear correlates to whatever they are hearing on stage - or always aim for 0dB on the inputs, whatever works best. If you need you preamp levels static for recording, I'd consider using post-fade sends for the sidefills instead. If anyone requests more level of a vocal mic than what is presented in the side fills, or requests another channel, I'd go for the floor wedges as those, at least in theory, are spot monitors for individual performers. Considering this is a jazz gig I'm typing under the presumption that the band balances themselves somewhat on stage. If levels are all over the place, then the side fills need to be utilized like any floor monitor with a mix built from scratch in each instance. [/QUOTE]

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