Effects to monitors

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This topic contains 8 replies, has 5 voices, and was last updated by Profile photo of [XAP]Bob [XAP]Bob 4 years ago.

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  • #63118
    Profile photo of pavelljubicic10
    pavelljubicic10
    Participant

    Hi!

    I rent my Qu 24 and I was sound enginner at pub gig,and problem was that I did’t knew how can I add reverb or delay to singers speaker monitor.

    Thanks for replies

    Sincerly,

    #63119
    Profile photo of MarkPAman
    MarkPAman
    Participant

    In exactly the same way as you send her vocal to that monitor. Just think of the effects returns as another input to the desk. They work just like any other channel.

    So:

    Go to the layer with the effects returns in. This is the top layer button on the left of the desk.

    On the right of the desk, select the singer’s monitor mix.

    Push up the fader of the FX return you want her to hear.

    #63120
    Profile photo of Andreas
    Andreas
    Moderator

    Hope we are talking about in-ear monitoring. I’d personally would never send any type of delay effects to wedges…

    #63126
    Profile photo of [XAP]Bob
    [XAP]Bob
    Participant

    Some musicians I’ve worked with like a touch of reverb in a wedge -I normally start completely dry and resist any attempt to change that though.

    One of the issues (apart from reverb not being particularly useful in terms of getting the tuning/timing of music correct) is that the reverb is normally created from a *post* send mix, so the level of reverb going to a monitor changes based on the FoH mix. The other signals (including the dry signal) would normally be pre fader, so they won’t change. That means that as you raise the level of the vocal in FoH her wedge/IEM will get a wetter sound…

    #63128
    Profile photo of MarkPAman
    MarkPAman
    Participant

    With 4 effects units to use, I will sometimes use have dedicated to lead singer monitors – split the mic input, & insert the effect on a dedicated monitor channel which can be also have a different eq.

    Like you, I’ll keep them dry if I can, but the boost in confidence some singers get, can outweigh the disadvantages.

    #63137
    Profile photo of WaihekeSoundie
    WaihekeSoundie
    Participant

    Hey @markpaman,
    You split the mic signal using a splitter eh– no way I can do that in the desk correct?
    And yes- I agree with you and others here that it is best to keep all effects out of the monitors unless the musos request them and I have some bands whose singers absolutely demand verb: No absolutes from me – it’s their call- monitors are for the players but if I add them I keep it as low and short as I can get away with 🙂

    #63138
    Profile photo of Andreas
    Andreas
    Moderator

    Inputs can be split when coming from dSnake, local inputs are intentionally mapped 1:1 to their respective channel (at least up to today).

    #63143
    Profile photo of WaihekeSoundie
    WaihekeSoundie
    Participant

    Actually- @markpaman can I ask something– its a bit off topic. I get the concept that you might have different eq for a monitor send than FOH for say a vocalist because the monitors are going to have a different mix and a different “audience”. In practice though what are you typically looking to achieve and doing with these EQ differences?

    #63144
    Profile photo of [XAP]Bob
    [XAP]Bob
    Participant

    One thing you can do is notch out frequencies in the monitor that don’t need to notched in FOH.

    Another is to ‘over emphasise’ the vocal for the monitor, in a way that would sound wrong FOH, but the monitor isn’t there as a musical mix.

    I’m sure there are others (musicians preference being one)

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