7 Stage Volume Control Tips That Will Make You Better (2024)

Did you know that uncontrolled stage volume is the #1 reason for poor front-of-house sound quality?

Sound engineers often cite stage volume management as their biggest challenge when trying to achieve clean mixes. 

I’ve spent 15 years battling this exact problem. 

Being self taught, for a bit of that I really had no idea stage volume was my main challenge when mixing. So today, I’m here to share everything you need to know to tame the stage volume beast. 

From working with demanding guitarists to managing IEM transitions, we’ll explore practical solutions that work in real-world scenarios!

1. Understanding Stage Volume Fundamentals

Let’s face it. When mixing, you know that controlling stage volume can feel like trying to herd cats. 

I know, I’ve been there!

Stage volume is basically all the sound coming directly from the stage. Mind blower right?

Think guitar amps, drum kits, and monitor wedges, and when it gets out of hand, it can totally wreck your front-of-house mix.

You see, every piece of equipment on stage contributes to the overall volume. 

Those cranked guitar amps? Yep. The drummer who hits like they’re trying to punish the drums? Definitely. Even those innocent-looking keyboard amps can cause problems. 

In smaller venues, you might be fighting with volumes around 95-100 dB, while larger venues might see levels pushing 110 dB or more.

2. Essential Equipment for Volume Management

You can’t manage what you can’t measure, right? 

That’s why I always keep a reliable sound level meter in my toolkit. Something like the dbx RTA-M or even a decent smartphone app can give you the readings you need. 

But measurement is just the beginning.

Here’s what you’ll want in your arsenal:

• A quality SPL meter (I prefer digital ones for accuracy)
• Monitor management system
• Volume attenuators (lifesavers for those cranked amps!)
• Basic acoustic treatment tools
• Digital stage management system (if budget allows)

3. Working with Amplified Instruments

Guitar players. Gotta love ’em! 

I can’t tell you how many times I’ve had to convince a guitarist that their amp doesn’t have to be so loud it peels the paint off the walls. 

The trick is positioning those amps correctly. Try raising them off the floor and pointing them at the player’s ears, not their knees.

I prefer, although this may now be an option in some cases, to put the amplifier in a closet backstage and mic the amp.

If you don’t have a closet you can build a simple box lined with foam sound absorbers to cover the amplifier and place the microphone inside the box.

For bass amps, I’ve found that placing them stage left or right (never center) and using a combination of direct input and miked sound gives you the most control. 

And here’s a pro tip: digital amp modeling has come such a long way that it’s worth considering as an alternative to traditional amps.

4. Monitor Mix Strategies

Moving to in-ear monitors (IEMs) can be a game-changer, but let’s be real – not every band or venue can afford them. 

When working with traditional wedges, proper placement is crucial. 

I always start with vocals in the monitors and build from there. Keep your monitors about 3-4 feet from the performer and angled up toward their ears.

One mistake I made early in my career was trying to give everyone everything in their mix. 

Trust me, less is more! 

Focus on what each performer needs to stay in time and in tune.

5. Drum and Percussion Management

Acoustic drums can be your biggest challenge or your best friend. 

They sound amazing, way better than electronic drums, but they are extremely loud. Especially with someone that is not skilled in playing for the room.

I’ve found that a combination of proper dampening (moongels are your friends) and strategic mic placement can work wonders. 

Drum shields aren’t always the answer. Sometimes they create more problems than they solve by causing weird reflections.

For electronic drums, make sure you’re getting a direct line into your board. 

Nothing worse than trying to mic an electronic drum pad that’s coming through a monitor!

6. Best Practices for Sound Engineers

Here’s my pre-show checklist that’s saved my bacon more times than I can count:

1. Do a complete stage volume check before the audience arrives
2. Set a maximum SPL limit and stick to it
3. Have a quick chat with the band about volume expectations
4. Document everything – especially what works
5. Keep your phone handy for remote mixing (many digital boards have apps now)

7. Advanced Solutions and Modern Approaches

The future of stage volume management is definitely digital.

Network-controlled amplification lets you adjust volumes from your phone or tablet while walking around the room.

If you can hook your console to a DAW, a virtual soundcheck will allow you to dial in a perfect mix without the band even being there.

Conclusion

Communication is the most important key. Don’t be afraid to tell the guitar player his amp is too loud, and the drummer to stop abusing the snare.

Remember, at the end of the day, your goal is to make everyone sound their best while protecting everyone’s ears. 

It’s a balancing act, but with these tools and techniques, you’ll be well on your way to managing stage volume like a pro.