From: gw214790@LANCE.ColoState.Edu (Galen Watts)
Subject: Re: Console Question
Date: Thu, 19 Nov 1992 15:45:08 GMT
Organization: Colorado Concert Sound

In article <1ef48aINNs31@gap.caltech.edu> franko@cco.caltech.edu (Frank Filipanits) writes:
>gw214790@LANCE.ColoState.Edu (Galen Watts) writes:
>
>>In article <1992Nov18.182958.9543@guinness.idbsu.edu> Dave Jensen <djensen@claven.idbsu.edu> writes:
>>>1) Do you perceive a need for stereo on-stage monitoring (In-The-Ear personal
>>>monitoring being a prime example)?
>
>>Given a choice, anyone would want stereo monitors.
>I would like to take exception here;  there is a reason most headphone
>boxes are wired for MONO.
Probably because it was cheaper to only have one amp in the old days and it's
one of those "traditions".
>Stereo monitoring introduces alot of unusual properties such as position-
>dependant phase shifts that are distracting for a musician.

Yes, position-dependance, like lead guitar on the right, vocals up the middle,
horns on the left and snare a little left of center.  I would jump with both
feet to get an onstage monitor system like that.  I could pick out cues from
the other band members much easier with spatial cues than with it all coming
straight up at me.

>The only person
>who should be concerned about stereo imaging is the engineer sitting in a
>controlled environment with fixed listening position (control room) or
>wearing a pair of headphones.

So if I play a stereo keyboard rig, I have no right to see if my stereo based
effect are working??????

>I'm not clear on what your intended use would be, so let me address a few
>scenarios:
>If you are dealing with a rock/pop live sound reinforcement application,
>stereo is a moot point.  At stage volume levels, stereo imaging is 
>non-existant.  And if the performers are standing still enough to
>appreciate stereo imaging, they need to work on stage presence.

We don't all play at jet engine levels.  I stand pretty much in the same spot
all night long.  We don't hop around when we play, we just play.  Also, take a
look at the Grateful Dead these days and you won't see ANY speaker cabinets
onstage, just little earphones in everybody's ears.  Cleanest mix I've ever
heard.  Cleaner than many studio mixes I've heard.

>If you are miking an ensemble, what need is there for a stereo monitor for
>the musicians?  I understand the utility of having a send for a stage hand
>adjusting mic placement, etc. but I fail to see why a musician would benefit
>from a stereo monitor.

In your typical classical ensemble setup, monitors would just confuse the littl
prodigies.  Most classically trained musicians I've run into (we've done about
a million symphonies-in-the-park) are scared to death of any microphone and they
generally ask us not to turn them on, even though there isn't a shell or any
of the acoustic amplification you see in a concert hall.

>I guess in ANY situation, what is the utility of having a stereo monitor
>for the musicians?  and what stereo image do you present?  How does this image
>correspond to the image s/he is already receiving without monitors?
>Maybe I'm missing something here... please share your views on this.
>I can say one thing with absolute certainty;  I prefer mono when I am 
>recording (as a musician... of course I use stereo when I'm the engineer :)

I have worked for and played with many nationally known artists who insist on
two mixes in front of them.  They usually end up as a stereo pair or a general
mix and a special off to one side.

Live sound is a totally different world from the studio.  I chose many years
ago to concentrate on the concert, where you get one shot to get it right,
no rewinding and take two stuff.  Many was the time the artist would bring in
an engineer who had eons of studio experience but usually had me mixing over
their shoulder about half way thru the first song in the live.  

Opinions expressed are mine and policy of the company I work for.
Galen Watts, KF0YJ  14.175-14.350 MHz, usually around 23:00-3:00 UTC