great video!! i havent been a monitor engineer for a while, but i can think of many singers that i have worked with in the past that would LOVE the luxury of parallel inputs as you describe.
So lucky to have found your page after seeing your walkthrough with Recording Studio Loser. I feel I'm a decent local engineer down here in Florida, but I know there's a much higher step for me to learn and achieve if I really want to make this a career at the touring level. The kind of information, insight, and experience you've provided so far is exactly the kind of stuff I'm looking for. Thank you so much, looking forward to more 😄
Happy to pay it forward. I would like to help move the industry forward by helping up and coming engineers to not make the same mistakes we’ve already made. Let’s move on to new problems and advancements.
Thank you for that. I will do more monitor videos this year to hopefully open the door to more ideas engineers can use to spark their creativity and problem solving. Thanks for the view.
Nice to hear tips from a pro. I'm trying to do the same thing with my band, we play through laptop and audio interface, latency is fine, and technically everything is possible, but I'm still learning what actually are best practices. So thanks for the content.
In the early days of digital, artists were using an analog chain for their vocals through a small analog mixer that blended a sub mix of the band (that came from the digital monitor console)for their IEM mix. It got to be messy for the monitor engineer but it ensured no digital latency for the vocal at least.
This was REALLY good Cookie! I'm on an S6L so multing inputs is something I'm very familiar with. Will definitely be sending folks to your page. Looking forward to digging in to your other content!
neat idea with vocal parallel compression. I usually just do parallel compression within a single channel on the x32 instead of 2 channels since the channel compressor has a wet/dry mix dial
Same basic outcome. I find two channels a little quicker to make adjustments via the fader but also allows different EQ treatment. I needed his low register to come through as normal but support his higher register. Just another set of options really.
Thanks for the brilliant video. Also loved the dual reverb one. Question: I don't have a stacked compressor on my IEM rig (Presonus 24R). What compression settings would you use if you only have 1 compressor available? I assume stacked means the one feeds into the next one.
Stacked do feed into each other but if you only have one and you’re using parallel inputs, use the slow attack around 50ms to start with and release around 100ms to start with. Ratio 3:1 maybe 4:1. Set the threshold low enough that it grabs the vocal when you do more than talk into the mic. Ultimately it’s going to be a feel thing. Depends on your vocal style, gain structure, etc. twist knobs and see how it feels. Thanks for the views and the comment.
Thank you! I have the liquid sonics reverb plugin that has the Bricasti verbs. Took a good look/listen to the Close B and London plate reverbs and tried to recreate them in the somewhat basic verbs of the Presonus. It did the trick. The singer was much more expressive because he had those reflections giving him a sense of his own voice. And he did some amazing things in the soft parts because he could hear everything. Brilliant :) @@cookie_mix
This is amazing info. In your experience, what vocal mics offer the best rejection of stage volume/PA's? The vocalist in a current project is constantly struggling with being able to hear himself, though the stage volume is generally not that loud, drummer doesnt bash cymbals and no one is using wedges. Any input is appreciated thanks!
Pickup pattern of mics and wedge placement is another video I have planned, but in your case you may want to look for a dynamic mic and not condenser. Hyper cardioid: Audix OM7 has been used for years Shure KSM9HS in hyper mode but it is a condenser Others: Telefunken M80 has a super cardioid pattern but feels pretty narrow. This is all assuming the singer is right on the mic and has good technique. Also moving the drummer around onstage (upstage left?)helps as well as the dreaded drum shield. I am guessing this is a small stage? After all that we start looking at processing the vocal mic but I don’t know what your console situation is.
@@cookie_mix Thanks for the in depth response. Of course there are many variables that affect the right decision,. Small stages mostly, drummer upstage right, no shields, singer is only singing. I am drummer/engineer, running x32 rack with wired IEM packs for now due to cost (the cheap wireless packs seem to be useless for most vocalists). For the monitor mix, Ive heard great things about the OM7, though I like how the beta58 sounds better, but vocalist being able to perform best is obviously paramount. Ive never actually put myself in the vocalist shoes to see how the rejection of the OM7 vs beta58 differs. Look forward to more of your videos!
Inner monitors are one of the worst things ever designed. I’ve done many many bands and many many shows and I’m gonna stretch out here and say at least 75% of the musicians who wear these things a it’s hard to wear them wrong, but when I say what they wear them wrong is that they crank the packs up And nobody tells them any different. I was with a country artist, and there was 20 more monitoring engineers ahead of me, and somebody told him to turn his belt back all the way volume all the way up and there was no telling them no it was so loud so stupid. It’s just ridiculous , I will never put another inner monitor in one of my ears ever again as long as I live, they are the most dangerous things on the planet. People who are already deaf musicians, who already have major hearing loss are not going to benefit from wearing in your monitors because you can never get it loud enough and then if you need to hear that mix to adjust anything all you’re doing is making your own self death , it’s absolutely asinine. Give me some stage wedges with a proper side, phil, and a good band who understands the definition of volume then there’s no issues. Inner monitors are a disastrous nightmare. I have been placed by interference so many times in my life it’s not even funny never never again I put those stupid things in my fucking ears
As far as the compression, think Phil Collins “In The Air Tonight” slow attack time on the heavy compressor.
The compressor thresholds are important.
great video!! i havent been a monitor engineer for a while, but i can think of many singers that i have worked with in the past that would LOVE the luxury of parallel inputs as you describe.
So lucky to have found your page after seeing your walkthrough with Recording Studio Loser. I feel I'm a decent local engineer down here in Florida, but I know there's a much higher step for me to learn and achieve if I really want to make this a career at the touring level. The kind of information, insight, and experience you've provided so far is exactly the kind of stuff I'm looking for. Thank you so much, looking forward to more 😄
Happy to pay it forward.
I would like to help move the industry forward by helping up and coming engineers to not make the same mistakes we’ve already made. Let’s move on to new problems and advancements.
Dude! Loving these videos. You have such a vast knowledge man. And that background….. 🔥💪
Thank You. Try to learn something new every day, right? I’m old so I have a lot of days under my belt.
Incredible video, sir. Literally, the best I’ve ever seen in the matter
Thank you for that. I will do more monitor videos this year to hopefully open the door to more ideas engineers can use to spark their creativity and problem solving.
Thanks for the view.
Nice to hear tips from a pro. I'm trying to do the same thing with my band, we play through laptop and audio interface, latency is fine, and technically everything is possible, but I'm still learning what actually are best practices. So thanks for the content.
In the early days of digital, artists were using an analog chain for their vocals through a small analog mixer that blended a sub mix of the band (that came from the digital monitor console)for their IEM mix. It got to be messy for the monitor engineer but it ensured no digital latency for the vocal at least.
5 mins in and this is already an amazing video.
Love it. Thank You.
This was REALLY good Cookie! I'm on an S6L so multing inputs is something I'm very familiar with. Will definitely be sending folks to your page. Looking forward to digging in to your other content!
Glad it was helpful!
Superb video. I'm certainly going to give this a try; one singer I work with in particular will benefit from this approach, I'm sure she will.
Let me know how it goes. I’m always curious.
@@cookie_mix I will do. :)
neat idea with vocal parallel compression. I usually just do parallel compression within a single channel on the x32 instead of 2 channels since the channel compressor has a wet/dry mix dial
Same basic outcome. I find two channels a little quicker to make adjustments via the fader but also allows different EQ treatment. I needed his low register to come through as normal but support his higher register.
Just another set of options really.
Fantatsic tutorial!
Thank You!
@@cookie_mix please keep the videos coming! ✨
Thanks for the brilliant video. Also loved the dual reverb one. Question: I don't have a stacked compressor on my IEM rig (Presonus 24R). What compression settings would you use if you only have 1 compressor available? I assume stacked means the one feeds into the next one.
Stacked do feed into each other but if you only have one and you’re using parallel inputs, use the slow attack around 50ms to start with and release around 100ms to start with. Ratio 3:1 maybe 4:1. Set the threshold low enough that it grabs the vocal when you do more than talk into the mic. Ultimately it’s going to be a feel thing. Depends on your vocal style, gain structure, etc. twist knobs and see how it feels.
Thanks for the views and the comment.
Tried it out today with the vocalist and he loved it! Thanks!
@@cookie_mix
That’s awesome. Thanks for letting me know!
Thank you! I have the liquid sonics reverb plugin that has the Bricasti verbs. Took a good look/listen to the Close B and London plate reverbs and tried to recreate them in the somewhat basic verbs of the Presonus. It did the trick. The singer was much more expressive because he had those reflections giving him a sense of his own voice. And he did some amazing things in the soft parts because he could hear everything. Brilliant :)
@@cookie_mix
This is amazing info. In your experience, what vocal mics offer the best rejection of stage volume/PA's? The vocalist in a current project is constantly struggling with being able to hear himself, though the stage volume is generally not that loud, drummer doesnt bash cymbals and no one is using wedges. Any input is appreciated thanks!
Pickup pattern of mics and wedge placement is another video I have planned, but in your case you may want to look for a dynamic mic and not condenser.
Hyper cardioid:
Audix OM7 has been used for years
Shure KSM9HS in hyper mode but it is a condenser
Others:
Telefunken M80 has a super cardioid pattern but feels pretty narrow.
This is all assuming the singer is right on the mic and has good technique.
Also moving the drummer around onstage (upstage left?)helps as well as the dreaded drum shield.
I am guessing this is a small stage?
After all that we start looking at processing the vocal mic but I don’t know what your console situation is.
@@cookie_mix Thanks for the in depth response. Of course there are many variables that affect the right decision,. Small stages mostly, drummer upstage right, no shields, singer is only singing. I am drummer/engineer, running x32 rack with wired IEM packs for now due to cost (the cheap wireless packs seem to be useless for most vocalists). For the monitor mix, Ive heard great things about the OM7, though I like how the beta58 sounds better, but vocalist being able to perform best is obviously paramount. Ive never actually put myself in the vocalist shoes to see how the rejection of the OM7 vs beta58 differs. Look forward to more of your videos!
Can we get a video …IEM mixing for idiots / stubborn band mates
Oof. That’s could be a really long video and the comment section would be argumentative but I could come up with a few ideas.
Inner monitors are one of the worst things ever designed. I’ve done many many bands and many many shows and I’m gonna stretch out here and say at least 75% of the musicians who wear these things a it’s hard to wear them wrong, but when I say what they wear them wrong is that they crank the packs up And nobody tells them any different. I was with a country artist, and there was 20 more monitoring engineers ahead of me, and somebody told him to turn his belt back all the way volume all the way up and there was no telling them no it was so loud so stupid. It’s just ridiculous , I will never put another inner monitor in one of my ears ever again as long as I live, they are the most dangerous things on the planet. People who are already deaf musicians, who already have major hearing loss are not going to benefit from wearing in your monitors because you can never get it loud enough and then if you need to hear that mix to adjust anything all you’re doing is making your own self death , it’s absolutely asinine. Give me some stage wedges with a proper side, phil, and a good band who understands the definition of volume then there’s no issues. Inner monitors are a disastrous nightmare. I have been placed by interference so many times in my life it’s not even funny never never again I put those stupid things in my fucking ears