How to "normalize" volume for live set?

    Quote from Hurricane

    We've been using an XAir18 controlled by our I-Pads for 2 years now but it's got no track-recorder.

    We also have an XR18 mixer. Our mixer has a USB interface with 18 channels.

    We recorded our rehearsals with a DAW at the beginning (the inputs of the Mixer) and together we could do the remix from the auditorium on a tablet (we have a rehearsal room where we can play at full volume).

    Of course it's only a rough adjustment at first but good to get a feeling for it on the one hand and on the other hand it offered everyone the possibility to hear themselves in the overall mix.

    Our goal was to get a basic setting, which we don't have to change anymore with the GIG and everyone knows how to play his volume with the individual tracks.


    With the first GIG's we had a technician who did the mix and adjusted it more precisely.

    He also made notes where the individual musicians had to make adjustments.

    In this way we achieved a usable mix where we only had to adjust the volume at the different locations.

    Dynamics due to the different pieces we do on our instruments. Especially the drummer is very challenged.

    It tooks time to be familiar with this - but it works fine now, So we do not need a sound technician anymore.


    Not the best - but a practical solution.

    The personal monitor everybody can controll by his mobile phones. (We use 4 small nearfield monitors)

    I really don't understand the problem here...


    Relative volumes - This is not a Kemper issue. any multi channel amp you need t balance respective volumes. The advantage with the KPA ( o0r any other digital option) is that you can't accientally knock your knobs ( ohh err matron) and lose you settings.


    I also use morph to boost volume for some rigs as well as difference in volume for quieter peices along with solo volumes, so I don;t want anything to try to "auto balance", total waste of time for me and actually counter productive. I rarely touch my relative volumes now.


    Differences at venues - Also not a Kemper issue. There are so many variables, but this is about global settings, rarely relative settings. Not only does that sound change when the venue fills up, but your ears deaden, drummers play a bit harder etc. This is why you get the creeping volume as everyone turns up a bit in the second set.

    You should not need to worry if you have a sound engineer. If you don't, your only option is to keep your settings gig to gig, and slowly improve it. I'm woreless so during a gig I ofetn go for a wandered into the crowd and you can then hear what its like and make very minor tweaks - they should only be tweaks, nothing that dramatic...

    You're right, if the Problem dealt with relative volumes I also wouldn't understand.


    But It doesn't deal with relative volumes but with Sound changes caused by the Fletcher Munson Effect on absolute volume Levels.

    Thanks Sharry,


    our venues usually differ a lot. Last saturday we played in Essen in a small Club (Essen's smallest stage) for 40 to 50 People. Nnext Weekend we're in Bernie Blues Bar on the terrace (open air) and in January we gonna Play on a large stage in Achim. For These venues my "rehearsal-performances" do not necessarily fit as a Standard.

    My Monitor Sound is not the Problem, I can make compromises, but I'm very focussed of my FoH-Sound, since our listeners mostly are musicians themselves (so called Blues-Police8)8o)


    I often cannot use my live-Performances to my taste without tweaking to the venue's circumstances . Maybe I'm a bit sophisticated, but in a three-piece-band every Instrument is very transparent and I set much value on my sounds.


    So if I was able, to create and store 3 to 4 Output-EQ-Settings (rehearsal-room, small, medium, large venues) together with a combined Output-Volume I could ensure to have a consistent Sound on each venue.

    Quote from Hurricane

    So if I was able, to create and store 3 to 4 Output-EQ-Settings (rehearsal-room, small, medium, large venues) together with a combined Output-Volume I could ensure to have a consistent Sound on each venue.

    What about writing those 3-4 settings down? It only takes a minute or two to dial it in for each venue.

    I could have farted and it would have sounded good! (Brian Johnson)

    Quote from Kempermaniac

    What about writing those 3-4 settings down? It only takes a minute or two to dial it in for each venue.

    ..or store them in the mixer. The values were are talking about to me are FOH settings that you would tweak not KPA. I would expect the PA to compensate for rooms...


    This is where an x18 would be suitable as I believe you can store these things..

    Quote from Hurricane

    You're right, if the Problem dealt with relative volumes I also wouldn't understand.


    But It doesn't deal with relative volumes but with Sound changes caused by the Fletcher Munson Effect on absolute volume Levels.

    That was the original query from the OP - relative volumes.


    For absolute, that should be the PA surely? How much bac kline bleeds into your front line? Your signal to FOH should be the same/consistent, so I understand you might want to change eq but I never change my sound to the PA. Its set and I like to leave it that way.


    I also play a wide range of venues, using external and our own PA. Admittedly we nearly always have a sound engineer but I don;t think he changes much on the fly. The skill is at sound check and then tweaks when people arrive ( or not in some cases :) ).


    I actually think a 3 piece is more forgiving. I play in a 5 piece and balance between guitars is crucial so that each cuts. I think you are right to make sure you get the best sound but what you are talking about to me is nothing really to do with the KPA here. Being able to save global settings as presets might be a future request but not sure what else could be done?

    Quote from V8guitar

    I play in a 5 piece and balance between guitars is crucial so that each cuts. I think you are right to make sure you get the best sound ........

    That also seems very challenging to me. So don't you think to spend too much time for tweaking ??

    For us there are max 2-3 Songs for soundcheck (drums, 3 vocs, guitar and bass). For FoH and monitor-Sound.

    Quote from V8guitar

    This is where an x18 would be suitable as I believe you can store these things..

    Yep, you can store so called scenes. A recall needs 5 sec;)


    If we'd be very sensitive, we'd use that option.

    Normally I set only the main volume and hope that my bandmates uses what is one of the most important thing when playing in a band.

    Listen to each other:!:


    I want to explain that we try not to have a loud stage volume.

    So it is easier to achieve a more harmonious mix and share responsibility for the overall sound.

    The XR18 / X18 can be set up as a (irrc) 16 18 i/o usb interface. So you *could* create a virtual soundcheck if you wanted. That might make life a bit easier for you.


    KPA Unpowered Rack, Kemper Remote, Headrush FRFR108s, BC Rich Mockingbird(s), and a nasty attitude.

    Quote from chu

    Is it that bass and treble frequencies are very different at different volume levels?

    That is the reason, which I try to resolve by the 4-band-Output-EQ for the Main-Outs. But without storing the Output-volume of the Main-Outs together with the EQ-Preset this compensation is incomplete.

    Quote from Hurricane

    That also seems very challenging to me. So don't you think to spend too much time for tweaking ??

    For us there are max 2-3 Songs for soundcheck (drums, 3 vocs, guitar and bass). For FoH and monitor-Sound

    I guess this was my point - we manage to sound check with 1 to 2 songs max..


    1 song balance, 1 song monitors at most. we have 2 guitars, bass, fully mic'ed drums and 3 vocals.


    We have learned to balance between us so the PA is already pre set if its our own ( we always leave the settings from the last gig). Therefore these have been tweaked over time. My KPA gives a consistent signal ( as does the other guitarist's Helix) so its only room compensation to worry about. Again, rarely much eq...


    If its a venue with in house PA then there is always a sound man, so no issue..


    Therefore during sound check its only minor tweaks via the desk.

    This is the point - I never change eq on my KPA or output ( into the desk) during a sound check. I might tweak the backline volume but again its usually pretty much spot on as you get used to each others relative volumes.


    Maybe we aren't fussy enough...

    Maybe our Locations are too much differentiated. We are bloody amateurs, so our venues are small Clubs at the most but all variations up to large open air stages (more seldom)

    Quote from Hurricane

    Maybe our Locations are too much differentiated. We are bloody amateurs, so our venues are small Clubs at the most but all variations up to large open air stages (more seldom)

    Oh same here, total amateurs. we also do small clubs and open air festivals - I'm in 2 bands but have the same issue.


    All I'm really saying the changes that are venue specific, we make ( big generalization) on the PA, not on our back lines/core sounds..


    Therefore if its our PA, we have the general settings already there and tweaked. If its an external PA, they have a sound guy...job done.