maanantai 24. heinäkuuta 2017 15.49.33 UTC+3 ~misfit~ kirjoitti:
Once upon a time on usenet Iain Churches wrote:
maanantai 24. heinäkuuta 2017 3.16.27 UTC+3 ~misfit~ kirjoitti:
Once upon a time on usenet Phil Allison wrote:
Graham. wrote:

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I thought a monitor was a speaker that was pointed at the performer
rather than the audience. What's the correct name for that?



** Correctly called an "on stage monitor" or "foldback wedge."

The boxes are typically wedge shaped to sit on a stage with the
front baffle at 45 degrees to the horizontal.

Yep, here in NZ back in the 80s they were reffered to as 'foldback
monitors' and were placed on stage just in front of the mic stands,
angled to face up at the mic position. They usually just contained
one or two 6" midrange drivers, at least the ones I worked with did.
(No tweeter as that would cause more of an issue with high frequency
feedback.) --


These days foldback systems may include in ear transducers, so the
term "wedges" is preferable for the stage foldback monitors. Mixing
foldback is quite an art, to give everyone on the stage exactly
precisely what he/she wants to hear with no feedback:-) Often with a
bigger band on stage, several layers of foldback might be needed,
starting with just backline. Good concert rigs have a separate
foldback mixer, which can be divided into subgroups just as one might
do for the main monitors. If you know the material well or have a
control score, you can lift fills and figures, and put the same
detail into foldback as you would into the main mix.

Yep. I only did a bit of foldback mixing back in the day and that was only
vocals. I see most performers use in-ear now. As you say that would solve
the problems with feedback I used to get sometimes.
--
In-ear has its limitations, but is a very useful addition to the foldback possibilities. Many experienced players, especially back and midline want as little as possible in the foldback. "Just give me bass and BD"

Others (think they) want everything. In-ear foldback and headphone foldback in general can give some performers difficulty with intonation.

Were you involved with the admin of the band you were with?
Musicians are notoriously bad in business matters, and anyone who can add up the gig fees on a table napkin and deduct the agent and taxman, and divide the result by the number of band and crew, is usually welcome in any band:-)

The big band in which I play, although not a pro band, is run like one. It is registered as a company. We have a chairman and a committee. We handle sales and PR ourselves, but have an agent through whom invoices are generated and tax and social costs are paid. No one in the band, with the exception of the conductor/leader who is a professional musician, gets paid. Most players are sufficiently well-healed, to regard the opportunity to play in a well-run band to capacity audiences as reward enough.

Iain