Stereo onstage monitors / mono mains?

[roblof]

OK, one more time: how is the L/Mono output from the KRONOS generated? The manual says that this "gives you a mono summation of the stereo signal". If it's just the summed L/R outputs, from the same sources, with no additional internal signal processing, that means the KRONOS sounds have been very carefully generated and sampled so that they are "phase coherent", with mininal phase problems when mixed to mono. Why would mixing ("summing") the L/R outputs to mono at the PA mixer be any different?

And every guitarist what a "phaser" is...

df

Ok, now I've checked. The mono output is an analouge summed mix.

There exist no provision to tell the sound engine that a mono output is selected. This will run you into issues regarding pan law power

To test for phase cancelations I'd use the digital output into a daw and then phase reverse one channel then sent to a mono bus.

This way you will hear what issues might become an issue. I'd also try to use mid-side technique for testing the audio. Check mastering forums for this approach.

My personal advice from experience - If PA is run in mono, use crafted mono patches (unless you record the show or similar application). If it's in stereo, keep your current patches as-is.

Damn, I really want to hear that leslie center placed in some thx venue.

[roblof]

A voice going through a simple reverb automatically becomes a stereo signal.

Damn, so all reverb chambers and mono reverbs are actually stereo

Also, most IR's are processed as mono.

[SanderXpander]

Tbh I can't see how this would really be a big issue. Professional synths have been stereo since the early eighties and have been using the summing L/Mono technique for just as long. I have never heard any live sound guy complain about hooking up both the left and right channels, no matter how large the venue.

[roblof]

Tbh I can't see how this would really be a big issue. Professional synths have been stereo since the early eighties and have been using the summing L/Mono technique for just as long. I have never heard any live sound guy complain about hooking up both the left and right channels, no matter how large the venue.

Soundguys won't complain unless something is seriously wrong.

As a soundguy it's a balance whatnot to say to the performing musicians.

Just yesterday my drummer told the soundguy who asked him to have his fronskinn ported. He refused even though the soundguy told him why non-ported wasnt a good thing in this venue with the current setup. My drummer told him to "learn how to mic a real drumset".

As a soundguy myself I've learnt to become very careful to say anything that might become interpreted as any kind of criticism, unless I find the issue major.

As an example I had this show where I was running sound. We did soundcheck and everyone, including their manager, were very happy with the sound. When soundcheck was over one guitarist moved his mic at the amp. i moved it back to the original position and the guitarist told me not to move the mic! His reasonong was that his amp sounded much better at that position . He refused to comply.....

I don't know how many times I've been told to "just do my job as a soundguy" when pointing out sonic issues that could easily be corrected to their benefit.

Most soundguys will take the stereo out from your keyboard but only run it on one channel if channel count is an issue. They won't tell you - Trust me!

I know one thing - I would NEVER tell a preformer that his sound is bad/crap. If that is the sound he is using, that's the sound I will mix.

[michelkeijzers]

Tbh I can't see how this would really be a big issue. Professional synths have been stereo since the early eighties and have been using the summing L/Mono technique for just as long. I have never heard any live sound guy complain about hooking up both the left and right channels, no matter how large the venue.

Soundguys won't complain unless something is seriously wrong.

As a soundguy it's a balance whatnot to say to the performing musicians.

Just yesterday my drummer told the soundguy who asked him to have his fronskinn ported. He refused even though the soundguy told him why non-ported wasnt a good thing in this venue with the current setup. My drummer told him to "learn how to mic a real drumset".

As a soundguy myself I've learnt to become very careful to say anything that might become interpreted as any kind of criticism, unless I find the issue major.

As an example I had this show where I was running sound. We did soundcheck and everyone, including their manager, were very happy with the sound. When soundcheck was over one guitarist moved his mic at the amp. i moved it back to the original position and the guitarist told me not to move the mic! His reasonong was that his amp sounded much better at that position . He refused to comply.....

I don't know how many times I've been told to "just do my job as a soundguy" when pointing out sonic issues that could easily be corrected to their benefit.

Most soundguys will take the stereo out from your keyboard but only run it on one channel if channel count is an issue. They won't tell you - Trust me!

I know one thing - I would NEVER tell a preformer that his sound is bad/crap. If that is the sound he is using, that's the sound I will mix.

I always have stereo out, but I never rely on 100% left/100% right sounds, meaning I max put sounds about 30% from the center. Effects of course sometimes causes a bigger change (like sweeping sounds).

Also I use my own monitors to not be too dependent on the mixing guy, on he other hand, I leave the PA completely to him. I have also worked with a Leslie 147 with 3 mics and the PA guy should know best how to do that.

For too less channels: in our contract we stated we need at least a 24 channel mixing console to prevent such problems.

[roblof]

For too less channels: in our contract we stated we need at least a 24 channel mixing console to prevent such problems.

For a single band channel count is usually not a problem unless it's a highly complicated setup.

But for multiple bands where a quick change between bands is premium or when a support band competes with a larger (i.e. more fameous) band compromises may need to take place depending on the venue, budget and occation.

It's easy to run out of channels even on 32 channels on some events

[danmusician]

Tbh I can't see how this would really be a big issue. Professional synths have been stereo since the early eighties and have been using the summing L/Mono technique for just as long. I have never heard any live sound guy complain about hooking up both the left and right channels, no matter how large the venue.

Soundguys won't complain unless something is seriously wrong.

As a soundguy it's a balance whatnot to say to the performing musicians.

Just yesterday my drummer told the soundguy who asked him to have his fronskinn ported. He refused even though the soundguy told him why non-ported wasnt a good thing in this venue with the current setup. My drummer told him to "learn how to mic a real drumset".

As a soundguy myself I've learnt to become very careful to say anything that might become interpreted as any kind of criticism, unless I find the issue major.

As an example I had this show where I was running sound. We did soundcheck and everyone, including their manager, were very happy with the sound. When soundcheck was over one guitarist moved his mic at the amp. i moved it back to the original position and the guitarist told me not to move the mic! His reasonong was that his amp sounded much better at that position . He refused to comply.....

I don't know how many times I've been told to "just do my job as a soundguy" when pointing out sonic issues that could easily be corrected to their benefit.

Most soundguys will take the stereo out from your keyboard but only run it on one channel if channel count is an issue. They won't tell you - Trust me!

I know one thing - I would NEVER tell a preformer that his sound is bad/crap. If that is the sound he is using, that's the sound I will mix.

For times when I play a venue that I'm required to plug into someone else's rig, I want to be ale to give the soundguy the benefit of the doubt. I made a guy smile recently when I said, "I'll play and trust you to make me sound good." of course, that's not always a wise course of action. I've had a disaster where I had a 15 minute set and the sound techs spent 9 minutes trying to get the sound right. I've also irritated a lot of sound guys by insisting on using my own rig.

Back to the OPs question, if it's that important to you, then you need to reprogram your prog/combis to sound good in mono. It's the only logical answer.

I don't understand monitoring my keyboard in stereo but the house hears mono. When I'm playing, I wanna know what the house is hearing.

[SanderXpander]

Most sound guys I work with are regulars for that band and I trust them to give me advice or criticisms. I've often asked about my levels between patches for instance, or discussed EQing or compression on my signal. They vary between wedding bands (but all professionals) and big stages with original music. Never has one of them said to me "you know what, I actually prefer mono so we'll just take the one channel". Unless all sound guys in Holland are crap I really don't see the fuss. The only times I've had problems was on patches with heavy chorus, when getting back a mono mix on my monitor.