Okay, we have tested all of these wide monitors, we've patched graphic equalizers into the auxiliary sends that they're being driven from from the mixer. So now I'm going to put them in the right place as far as that your deployment is concerned. The stage is very small. There are plenty of stages in the clubhouse venues in London that actually really are only this big. The Water Act is one that springs to mind. You don't want to take a cat to the water ranch because obviously there would be no room to swing it.

So what I'm going to do is put the wedges in a position where I think they might be useful. So starting with maximum here Perch it right on the edge of the stage, give the musician as much room as possible as he's going to be mixed to now this is the pair for the singer. little hint. When I'm running a speaker cable them records over here on stage and often I'm running a speaker cable to a pair of wedges. I always run the cable to the furthest wedge and then link back. That gives you just a little more scope if you need to move it.

And if you do mean to move at any substantial different distance, then you can shift the cable and gang yourself another two or three meters because all of these wedges have got two connectors on the connector plate as you can see, as I flip this one over, that's a bit of a mess. Let me just redo this. This is the drive cable. This is connected to the amplifier and this is the Do your hair, which is not connected to anything at the moment just my link enable me to see if I can find the appropriate or official alert. And this is the other wedge in the path. So what just like myself a bit of room here we'll put them slack by wallet in the middle of the stage.

I like to place wedges parallel with each other especially if they are coaxial or dual concentric 's because you don't have this issue of the woofer and the tweeter being having different centers, there is only one center to each one of these loudspeakers. The closer you put your wedges together, the better they will respond in the low frequencies. If I'm dealing with a bass player who likes a lot of bass guitar and a mix Given a pair of wedges, and push them hard together to get as much coupling as I can, generally speaking, I like to have no more than probably 30 centimeters, something like two fists between the wedges because any greater distance than that, and your brain starts perceiving them as two separate sources. And if you stand off to the side of them, then the hast effect starts taking place. And obviously, what we want is for this to act like one coherent source, so when so there you go, they are parallel with each other, pointing at the stage.

I'm just going to connect the link cable in here. And there we go. Now let's use the word drum fill which we should do in a moment. Once I've had a little think about where to put it, this is my mix three stage left which again, I'm going to put right on the downstage edge in the corner to give the musician as much room as possible. Now I can already see that this stage being fairly small two meters deep. And the wedge is taking up half of the downstage one meter.

I put a mic stand here, what he's worried about, I would expect a singer to be standing. As you can see those very little room here behind us for anything at all. So I'm going to try and do a little cheat. Very often clubs will let you get away with this. Some do not all. I'm going to find a box.

I'm going to try He's off the stage, put them on a box on the floor. That's liberating this down stage half a meter, which is in fact, about 30% of the entire stage depth at the moment. So I'm here, just by coincidence is a handy box. Going shove into place where I can show not to squash the cables. I'm going to lift the wedges down onto the box and you will find that a singer, particularly singers in young bands who are desperate for that close up adulation deal going on with the crowd. No matter where you put the word Yes, they will put the microphone stage as far down stages.

I can without falling off the edge. now in this situation, the wedges are actually pointing at my knees, which is not what I keep my ears. It's really not very much used to me. So what I'm going to do, I'm just going to move them back a little bit on this luxurious box. I'm going to move the box back a bit, just to try and give us the opportunity to actually point the wedge. May is we can I can see just by looking here, that that's a much better result that the speaker is actually pointing right up at me I've got a good chance of hearing everything it's doing.

Now, the final consideration is when are we going to put the drum fill, having not seen the drummer of our mythical band because he's latest drum as always our ongoing support You, he is a right handed drummer. Therefore the high hats will be on this side. Traditionally, with a right handed drummer, you put the drum monitor on the stage left side of him. The reason for this is just if he asked for any higher end in his own mix, you haven't got a high up microphone that's pointing directly at the horn of the wedge, the higher up being here with a left handed drummer, the higher that's on the other side, of course, so you move the drum fill around. In practical terms, very few drummers actually want to hire in the wedge, cuz it's pretty loud. But you never know.

And this is a kind of a tradition that we have. Now. I don't really have anything that approximates to a drum stall. So I'm going to mind one. Let's just have a little bit of a look at this. Drum and sub combination.

Say for do that sit in your my drums do as you can probably quite clearly see, the wedge is actually falling out of my head, I'm only listening to about a bottom third of the output of this loudspeaker. So essentially, it's in the wrong place. There are two things I'd like to do to correct this. The first thing is, in an ideal world, I would like to find myself a box to put the drums sub on. I would like to do this for two reasons. First of all, I'd like to raise the whole thing up.

I want to get particularly the wedges close to the drummer as I can, because the nearer I can get to him, the less energy I have to apply to the loudspeaker to achieve the sound pressure level that he requires, as we know from the inverse square law, double the distance half the level. So get it as close to him as you reasonably can. And it will certainly help you out particularly if you have a singing drummer. Surprisingly, you might find that you get a much better result the closer you get the wedge to him, because it reduces the amount of levels that you need out of the wedge and therefore the potential feedback problems because you don't have to have so much gain or move so much. Yeah. So at this stage, I would usually go off in search of beer crates.

The thing about beer crates, is that particularly on a little hollow stage like this, if I just put the drum fill right on it, the vibration will almost certainly make it walk like it moved during the course of the gig. Sometimes I can move quite away and fall off the perch upon which they are. We're not occasionally catastrophic results. So What I tried to do is use a bit of a rubber mat car for a while that worked really well for this. And I take a sharp knife and I sliced it into strips, put a few strips on the floor a couple of beer crates, then a couple more strips of rubber then the drum sub couple more strips of rubber than the wedge. Unfortunately we are bereft and establishment of this establishment of bear Crites.

Which is always seem strange to me as they do sound bear. Okay, there you go. And it was not the reason why. So So I am just going to place the drum fill in a place where I think it's going to be appropriate in this situation. I am going to discourage the drummer from starting up downstage center for two reasons. Firstly, Physical room.

If we set up a drum kit here, then the front scan of the bass drum will be touching the back of my legs now, there is only 40 centimeters between my feet and the dance die judge. So one would hope that the singer is going to be considerably more svelte than I am. But even if not, that's still not enough room for anybody to stand and perform reasonably. The other reason is that even when the singer stood here, I'm going to get an awful lot of drum kit down the vocal mic. It's going to be really hard to get vocal definition over some bloke building a shed three feet behind or him indeed, particularly if the singer moves like this off axis. Dan, we have real issues.

In fact, this microphone becomes another overhead. It just so happens and I've spotted the other side of the room that Another drum sub, so I'm going to go and get that I'm going to bring it onto the stage and use it as a stand for the existing one. Now I'm going to try and encourage the drummer to set up on one side of the stage or the other, as I explained before to get the drum kit as far away from the vocal mic as possible. So one has to give them some room. And I guess, if he's going to be a right handed drummer, this side of the stage is probably going to be more convenient in terms of second the cutout. So what I'm going to do is I'm going to purge the drum fill right on the corner of the stage.

First thing I'm going to do is just typing it off. Now, before I put the drum cell in it final resting place, I am going to do something about the fact that due to the vibration is being a hollow stage, the drum fill, being likely to have some kick drum and some bass guitar in it is probably going to make the cabinets on the stage vibrate, vibration means movement. And if your drum fill has a tendency to move with vibration, then it can actually and I've seen this happen in fact, it can walk itself entirely off the riser and fall off or the word can fall off the top of the sub and into the drum kit with spectacularly disastrous consequences. It's something that everybody should witness once, I think. So what I'm going to do is I'm going to cut myself some little strips of rubber into the convenient bits of rubber mats that I've found out Around the venue that I presumed I used to put on the floor beyond a bar or either cables or something.

And I'm just going to sneakily cut a few centimeters off the end of it because I don't need very much rubber, but just to stop the surfaces from vibrating against each other. So here's our rubber strip. I'm just gonna cut myself about four or five centimeter strip, just like this. I'm going to cut this in default before. Here we go. So I've now got four handy little bits of Red Rover that nobody saw me cutting off their lovely roll of rubbish strip.

So I'm gonna take these two or two of these Rubber strips and put them underneath this drum sub here. And now I'm giving it a good push and it's not going anywhere. So this is going to be the stand social, disconnect the cable fading it. We're gonna take the next two bits of rubber strip and I'm gonna put them between two subs. These subs also have got seats that are designed to lock into these little cavities in the shop below in order to stop exactly this happening. So I'm going to see how efficient the whole deal is.

Once I've got them correctly, located, join There we go. pushing up pretty hard. Right, I'm not gonna put the wedge on top. And I think this orientation is probably gonna be about right. We go now if I do my little drum stool impression, there we go. In about here, the drum kits going to take up about a third of the stage.

I was considering using a bit more of a mount for this wedge, but there's actually another little technique which I find very useful to stop wedges from walking around. And that is the gaffer tape triangle. It's quite a nice trick. This actually take a piece of gaffer tape fold it into a triangle like this all over again. So you finish up with Triangle might have data type, that's a good few mil thickness is probably five or six layers deep, and it's sticky all the way around. You make two of those, and you stick one on the corner, each corner of the wedge then it's actually even more fibration proof than my little strips of rubber.

Because it has the advantage of being really sticky. This is really useful for all sorts of thing, holding the corners of drum match down all that kind of stuff. And it's something that's cheap and easy to do. So here we go. She's under the other corner. There we go.

Time considerably. Turn that now. That's going nowhere. So I'm reasonably happy that's not going to fall off the stage or on the drummer, possibly a year. A little overstated for the size of stage we've got, if it turns out to be a rather more jazz oriented group than a rock orientated group, I, my wife suggested the drummer, that we take the subs away and just give him a wedge. But I like to prepare for every eventuality.

So I'm going to do my EQ in my setup with the sub as it is, because it's easy to take away than it is to add. So I think we have now got a reasonable starting point for doing some EQ in here, I think, right? These are all in the not the right places. So I'm going to get myself a microphone and I'm going to go to the mixing desk and I I'm just going to have a little bit of a listen to my voice in all of these mixes, do a little bit of a cueing and then I'm going to come up on stage. I will listen to what it sounds like up here. See what I can do when the wave feedback and making it I why all that kind of stuff.

So that's the next step.