# Soundcheck



## JP12687 (Jul 27, 2007)

This is a subject that has come up many times in my travels. Every sound person always has a different way of doing it- and every actor/singer expects something different.

What are different procedures people use? Do you have a check list?

I havent posted in a while- but i have been seeing this question come up more and more- and i wondered what everyone else does...


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## 6ftstudios (Jul 27, 2007)

Well....it depends on the event. The typical concert (on the road)...

{BEFORE PERFORMERS ARE PRESENT}
1. Turn everything ON (it's amazing how often this is missed)
2. Check all routing is correct w/CD
3. Check monitors/mains are working w/CD
4. Check mics are working
{WITH PERFORMERS}
5. Instruments Only - rough mix house/band (skip if no band)
6. Vocals & Instruments

That's a rough outline - i'm sure i missed something somewhere


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## Van (Jul 28, 2007)

I feel it's best to wait until all the carpenters are on stage and trying to talk to each other about important set things, Then turn up the system as loud as possible. Find the most obnoxious CD in your arsenal,Preferably something by Sunvolt, or an obscure Christian rock band, push play. Walk away from the board and disappear for the next 45 minutes. Come back to the board at the same time as the TD gets frustrated and decides to turn everything off. Yell at TD for interfering in your sound check. Turn off music, walk on stage with a wireless mic and proceed to say the words
" Syllabants, Syllabants, T- T- T- Teeeeeeesta" for the next 20 minutes. 

I'm no expert but from years of observation, I think that's how you do it.


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## gafftaper (Jul 28, 2007)

Van said:


> I feel it's best to wait until all the carpenters are on stage and trying to talk to each other about important set things, Then turn up the system as loud as possible. Find the most obnoxious CD in your arsenal,Preferably something by Sunvolt, or an obscure Christian rock band, push play. Walk away from the board and disappear for the next 45 minutes. Come back to the board at the same time as the TD gets frustrated and decides to turn everything off. Yell at TD for interfering in your sound check. Turn off music, walk on stage with a wireless mic and proceed to say the words
> " Syllabants, Syllabants, T- T- T- Teeeeeeesta" for the next 20 minutes.
> I'm no expert but from years of observation, I think that's how you do it.



...or you could do what 6ft studios said. Go back to the Scene Shop Van. 

Seriously you want to make sure everything you plan to use is given a quick test to the proper volume level. As far as order, do something that makes sense to you and that works with the schedule of how your talent is arriving. If you're doing something like a musical with a bunch of cast members all doing makeup, costumes, and warm ups you've got a whole lot of time schedule hassle to get each of them out on stage, mics on, and projecting properly. You shouldn't be setting levels at this point, you should have already done that, you are just checking that the mic works and that the talent is still going at the same level... for example do they have a cold you need to adjust for. The process is easier with a band in some respects because you've got less people to deal with, but musicians can bring their own level of weirdness to a sound check. 

Anyway, the point is you need to develop an organizational plan that works for you, yet is flexible to deal with the weirdness of the particular show. You can do a certain part in the same order every time without the talent... but once you start dealing with talent all bets are off.


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## Van (Jul 28, 2007)

Actually developing a checklist for each show/production, is an extremely good idea. Using the list that 6ft posted as an outline, "plug in" all the components you are utilizing. I'd be sure to double check and list the proper order for powering on, make sure you hit every power switch. etc. Again as 6ft said, Talent can throw off everything and their expectations/ demands will often over-ride any order you try to apply to the process.


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## Schniapereli (Jul 28, 2007)

It depends on what level your theatre is. From what other prestigious techs have taught me (and please, correct me if I'm wrong) , shows on broadway don't even do individual sound checks because everything is so consistent. Nothing changes between performances. It becomes a daily wast of time. But, they sometimes do some group numbers, just to get a good overall mix.

I know that Metallica also hasn't had a sound check for a while since Mick Hughes, the sound guy, says “After 18 years I know what I expect to hear!” But, he still does a line check.

Of course, I still have mic checks at my school, where I just EQ, and set the levels for everything, and then the mic checks for the other performances are just to make sure nothing went askew. We have lower quality equipment, and we also place our lavs over the ear, which is more sensative to placement, so there is a larger possibility that something could go wrong. A lot of people play it safe and check everything that could possibly go wrong. For others, it just gets old and pointless.
I personally think it is stupid to have a mic check just to see if the mics work. This should be done before they are put on the actors. You can also check the RF's on the receivers, and the AF on the board. But, everyone has their own opinion and style, and their own needs. For me, every mic check is to check up on the level and EQ.

But, these guys are more correct on what is proper. (especially Van's first comment =) ) That is the way I always do it, but once you become a big dog, you can do whatever you want.

Once you know all the rules, and understand them, then you can brake them.

I don't know about you, but I am far from that point...


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## Hughesie (Jul 28, 2007)

ah sound check, a chance to order everyone else out
and play music loudly

and check the speakers for about an hour
fun fun


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## jkowtko (Jul 28, 2007)

I assume you're concerned mainly about body mics, since you mentioned the actors.

Our lavs are taped over the ear on the cheek, so we need to do a volume check before each show because the positioning (and therefore input volume) will change.

We put mics on about 45 minutes before showtime, and around 10-15 before showtime I get on the clearcom with the backstage manager and have him/her grab the actors one by one, bring them to a place where I can pick them up (fortunately I can pick them up from our Green room), and have them belt out a few lines of song or dialogue. I listen through my solo monitor headphones and mainly adjust the input channel gain on the board, and very infrequently I will need to adjust transmitter or receiver volume or reposition the lav.

And, if for whatever reason we run out of time to do official mic checks, I'll just get on the solo headphones and cycle through the lav channels to make sure each one is picking up whatever is going on back there loudly and clearly.


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## avkid (Jul 28, 2007)

Play some music to check monitors and mains when I get in for the day(after making coffee that is). During a familiar song I walk up through the audience both up and downstairs then up on the stage for a while. 
Starting 1/2 half hour before doors everybody on stage for vocal warm ups.
Recite some lines and then sing at stage volume for about a minute.


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## Logos (Jul 28, 2007)

avkid said:


> Play some music to check monitors and mains when I get in for the day(after making coffee that is). During a familiar song I walk up through the audience both up and downstairs then up on the stage for a while.
> Starting 1/2 half hour before doors everybody on stage for vocal warm ups.
> Recite some lines and then sing at stage volume for about a minute.



Are you sure we've never met? That's exactly what I do. Except I make tea.


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## avkid (Jul 29, 2007)

Logos said:


> Are you sure we've never met? That's exactly what I do. Except I make tea.


I've never been anywhere outside of the U.S. and Canada.


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## JP12687 (Jul 29, 2007)

This is essentially what i do.

1) come in- drink coffee
2) turn system on
3) check monitor levels
4) battery up Lavs
5) line check all used channels
6) Mic up actors *
7) pre-show meeting with actors
a. ask them how they are feeling- and listen to how they are talking/watch their body language to tell if there might be a difference from normal
8) perform daily "soundcheck" which is really a level check/placement of mic check
a. i will do a full check on individual actors if i detect a problem/difference with their voice prior to show
9) Check out monitor mix with actors
10) start show

there is much more detail involved then that- that is just a quick overview.

Here is yet another question for debate- mic placement

How do you attach mics to actors (in musicals)? Over the ear? forhead? bobby pin or tape? mic elenent "sling" for the ear?

So many different choices for mounting of a mic- everyone has their own opinion. What is everyones experience with this part of mic-ing and what are your reasons for doing mics that way?


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## avkid (Jul 29, 2007)

JP12687 said:


> How do you attach mics to actors (in musicals)? Over the ear? forehead? bobby pin or tape? mic element "sling" for the ear?


We got some neat Sennheiser headband type devices this winter. 
They are much easier than messing with all the floral wire and medical tape we used previously.


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## jkowtko (Jul 30, 2007)

Mic placement --

Currently we tape over the ear. For the main season productions where the actors generally project well, I have the mic head no further forward than a bluetooth headset for your cell phone. For the kids summer shows I taped the mic head much closer to their mouths for better pickup of the lower volume voices.

I would personally prefer not to have to tape the mics since the tape leaves a residue on the cords that I have to clean after every production. However I haven't seen any good headmic adapters out there. I bought a couple of the Sennheiser NB-2's to try out, and they look a bit clunky, so far I haven't asked anyone to wear one. I also tried mocking up a wire ear hanger to wrap the mic cord in, but am not happy with the way it looks and it's staying power. I plan to experiment more with forehead location in future shows, but I would ultimately like to find a placement strategy that doesn't require taping or glueing the lav cord. If anyone out there has come up with a unique mounting method, please share!

Thanks. John


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## Hughesie (Jul 31, 2007)

ok i have a good one, we use a rubber band around the mic's normally attached to the sideburns area close to the head so it doesn't move around much. not the most pain free way of doing it but it works, and if done properly stays in place for most of the show.

plus if they rip it out, we will know (it will have hair attached to it )

my reason for doing it like that

1. it's how i was taught
2. it stays in and works for me (especially on children, if they don't touch it it won't hurt)


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## Van (Aug 2, 2007)

I just used a safety pin. The flesh behind ear is easy to penetrate, and due to it's location near the brain, wounds there tend to heal quickly. I minimize infection by dousing the area with alcohol before the show, this practice seems to really warm up the performers as well, well at least they hit High notes they'd never hit before. 
Anyway I think the safety pin behind the ear works a lot better than the piercing the cheek or "nose ring" option. 






< at this point in the week anyone still taking Van seriously should have their collective heads examined>


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## gafftaper (Aug 3, 2007)

Nice Van... I think maybe you should just stay out of the sound forum on Thursdays and Fridays.

Hughesie... I love the rubber band trick. So simple and effective. Do you cut the rubber band to remove it or do you just let the actors struggle on their own?


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## gafftaper (Aug 5, 2007)

charcoaldabs said:


> I do the same thing! (Except I douse the the area with MEK, not alcohol.)



Hey Van I think we may have found the perfect Padawan for you at last.


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## Grog12 (Aug 9, 2007)

charcoaldabs said:


> I do the same thing! (Except I douse the the area with MEK, not alcohol.)



MEK isn't strong enough you need something a little stronger just in case the safety pin is dirty. I prefer a combination of MEK/Bleach/Ammonia.


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## Van (Aug 9, 2007)

gafftaper said:


> Hey Van I think we may have found the perfect Padawan for you at last.


 
Yes! 

" Charcoal, My young Apprentice. You will know the power of the CarpSide of the Force."


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## Hughesie (Nov 4, 2007)

gafftaper said:


> Hughesie... I love the rubber band trick.  So simple and effective. Do you cut the rubber band to remove it or do you just let the actors struggle on their own?



major catchup, yeah that trick works really well we cut it out for them. but if you do it properly it's easy to do and stays in all night

any pain is a bonus

but i have a policy, that it isn't bad, once i wore on myself to prove that it's not to bad, and it hurts for a little while but then the pain fades away


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## derekleffew (Nov 4, 2007)

Van said:


> I feel it's best to wait until all the carpenters are on stage and trying to talk to each other about important set things, Then turn up the system as loud as possible. Find the most obnoxious CD in your arsenal,Preferably something by Sunvolt, or an obscure Christian rock band, push play. Walk away from the board and disappear for the next 45 minutes. Come back to the board at the same time as the TD gets frustrated and decides to turn everything off. Yell at TD for interfering in your sound check. Turn off music, walk on stage with a wireless mic and proceed to say the words
> " Syllabants, Syllabants, T- T- T- Teeeeeeesta" for the next 20 minutes.
> 
> I'm no expert but from years of observation, I think that's how you do it.


That's close Van, but you forgot one step. Wait totally silently until the LD in onstage and has men on the truss, hanging upside down to reach the Zoom ERSs underhung on taildowns. Then start white noise/pink noise, at 140 dB. After an hour or two of that, proceed with the obnoxious CD, at 150 dB. If the LD and electricians haven't lost their sanity yet, assemble the full cast onstage, to sing "ma oh me oh my" alone and in various groupings.

Every time I try to program lights during a rehearsal for an act I've never seen before, it turns into a sound check, and I end up programming the same eight faders with the same generic looks I always use. 

Years ago, David Collison, a fairly well known theatre sound guy, stated that every actor should be implanted with a wireless transmitter when he/she receives his/her Equity card. Seemed like a good idea at the time, but back then it would have been VHF. Hey now my cat has an RFID chip, so maybe we're not that far off.


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