![]() ![]() For professional engineers this might be unnecessary information I work regularly with student engineers, however, and the noting of phantom minimizes problems while simultaneously helping newbies learn their mics.Īlthough somewhat unrelated to inputs, I also like to include a list of monitor mixes as well as important monitor mix notes on input lists. ![]() Also common is listing the mics requiring phantom power. Sub snakes or other patching might also be mentioned, especially in festival situations. Many engineers specify mic stand type and size. Other information is frequently included on input lists. A more detailed source name, such as “Electric Guitar 1 – John”, can help local crew better understand the setup and show. While most input lists keep instrument and source names short, such as “Guitar 1” and “Guitar 2”, it can be helpful to include additional information as well. How sound sources are named is also important. Better still, request the “fancy pants” mic on the input list but offer an easier-to-find alternative as well. The easiest solution is to accept ubiquitous Shure models such as the venerable SM58. In general, I suggest input lists spec common, meat and potatoes mics. If something specific is required, be sure to travel with it, and mention on the list that it is provided by the artist so the local sound company doesn’t need to expend effort hunting down an esoteric model. ![]() Not every sound company or venue has a wide selection of mics. This is especially important when a star vocalist relies on a wireless mic, which is by nature, less reliable.Īlthough you and/or your artist might be attached to a boutique mic, it can be problematic to request uncommon models on an input list. The lead vocal is often the “money” channel, and failure is not an option. Placing a spare vocal mic somewhere on the list is also wise. Additionally, an empty channel might help a stereo pair fall on odd-even inputs or like-instruments reside within a fader bank. ![]()
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