That way, you're in total control of the tone, and the amplifier on stage can still do its job as the player wishes.Īcoustic guitars are a different matter. In this case, I'll put a DI box between the guitar itself and the amplifier. Sometimes you'll find you need more definition in the bass guitar, or your drummer will want more in their monitors. In fact, I'm almost always finding myself having to ask the players to turn them down because they're too loud in the house. Quite simply, in most small rooms, you won't need to mics the guitar amps and bass cabinets. That way you can still send the snare signal to the reverb unit while not actually putting any in the house! Here's another tip: if you've got a loud snare, but still want to add reverb to it, you can switch the reverb send on that channel to pre-fader instead of post-fader. I also, as usual with most channels, cut out everything below 80Hz. I prefer to compress the kick drum separately, and EQ with a boost in the mid frequencies. Sometimes, I'll mic the high-hat in a small room if the drummer plays it softly, but generally, it's not necessary.
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Even some small clubs that hold less than 1,000 people may not need amplification on the overheads. Overheads and cymbal microphones are of low priority. Depending on the quality of the kit, you'll need to compress. If you're low on microphones, you can put one microphone for every two toms, placing them in between. If you're in a club that holds, say, between 250 and 500 people, you may need to mic them. Toms generally don't need any amplification, as they're generally not played enough to warrant dedicated channels. Most drum kits, in a small room, won't need any amplification past the kick drum.įor a good small room, I prefer to mic the kick drum, as well as the snare.
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In order to deliver the best-sounding mix, you need to take stock of what you can hear in the room naturally, without amplification.