Allen&Heath GL2800M USER GUIDE - Manual (Page 19)

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Stage wedge speakers The type and position of the floor
wedge speakers used for stage monitoring are critical to both meeting
the performers needs and keeping stage noise under control. Use a
speaker designed for the monitor application and with adequate
power handling for the type of show. Know the directional response
of the microphones being used as this can determine the optimum
position of the speakers to minimise feedback. Ensure the speaker is
as close as possible to and angled up to face the performer.
The engineer’s wedge speaker Use the same type of
speaker as used on stage for the performers. To help you hear the
mix as the performer does, position this in a similar way to those used
on stage, on the floor angled up towards you.
Ringing out the wedges To avoid problems take care to
position each mic and speaker correctly. Use an EQ, typically 31
band graphic, inserted into each wedge mix. Start with the EQ set flat.
Sweep the console mix HPF to filter out unnecessary low frequencies.
Restricting the low end in the wedges can improve the overall stage
sound and prevent the amplifiers wasting energy. It is likely that there
will already be a strong low frequency presence from the back line.
Get a colleague to help with this process. Ring out each monitor by
carefully turning up the level until feedback just starts. Have someone
talk, shout or sing into the mic as this may stimulate further feedback.
Find and cut back that frequency a few dB on the EQ. Turn up the
level and find the next feedback ring. Do this for 2 or 3 frequencies
and do not cut more than 3 to 6dB where possible. Avoid using the
EQ to boost frequencies. Excessive use of the EQ may reduce the
feedback but may also destroy the intelligibility of the mix. While
finding the feedback it helps to simulate how the mic will be used
during the show. For example, cup the mic with your hand, present
your open mouth close to its grille, walk around the stage if the
performer does this. Certain ‘props’ such as sunglasses, costumes
and hats may stimulate feedback. Once you have completed the
process listen to your voice or a signal through the speaker to make
sure that the overall tone is good. A monitor that has been effectively
tuned in this way should provide plenty of GBF (gain before feedback)
ready for the sound check and show.
Creating a wedge mix To improve intelligibility keep the mix
as simple as possible with just vocals and specifically requested
sources. It is unusual to put everything into the wedge mix as it is
there to supplement the acoustic contribution of the instruments on
stage. Avoid reverb or other ambient effects in the wedges if possible.
To keep the stage level under control encourage the performers to
turn down or reposition the back line amplifiers if they are too loud.
Mono or stereo in-ear monitors The majority of
professional closed ear IEM systems are capable of handling a stereo
mix. Stereo is known to provide the performer with a much more
comfortable listening environment. However, mono is still the more
common method simply because of the lack of compact affordable
consoles with a sufficient number of auxes or the ability to create true
stereo mixes. The space saving GL2800
GL2800 GL2800 GL2800M M M M changes all that with
its 16 mixes, true stereo level/pan capability and advanced engineers
stereo monitoring…
Adding ambience to an in-ear mix Because the performer
wearing an in-ear monitor becomes isolated from the stage and
audience acoustics it is good practice to add some ambience to the
mix. A little stereo reverb can help, or better still, use a pair of ambient
pickup microphones placed at the side or front of stage. Condenser
mics are recommended. Plug these into a pair of channels and pan to
create the stereo spread required. It helps to EQ out the extreme low
and high frequencies to avoid distracting from the musical mix.
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