ProSoundWeb: Like many sound engineers, I have a background in music, so I’ve been on both sides of sound checks and know how annoying a poorly-run check can be for musicians. These experiences have led to a paradigm shift in the way I approach sound checks: they’re for the artists, not the engineers.
1 comment:
I think this approach makes a lot of sense. when I was doing sound for musicals in high school, I remember how frustrated I would be when artists would not put their all out there. although it was annoying for me having to change the levels of the artists on the spot because they weren't singing loud enough for were being weird while they were doing their mic check, I found it interesting that they wouldn't put themselves all the way out there, because my check should be a time where they get to get used to the stage and the equipment that's on their faces. although I don't necessarily get it because I've never had to deal with at least a face mic, as a dancer the dress rehearsals would always be a time for me to test my limits and figure out what I can and can't do in the performance space, and I would think that that would be linear to what the artists are figuring out what they can and can't do with their mic.
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