An Interview with Kevin Madigan for Performance & Backstage Systems
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Transcript Details
Full Transcript Below
Mike Dias:
Have you ever thought about why some sound engineers become monitor engineers while others choose front of house? As part of our On The Road With… series, I caught up with Kevin Madigan to talk about the differences.
Kevin — thank you for taking the time to talk with us. You’ve mixed monitors and FOH for some of the world’s largest acts. Are you a FOH guy or monitor guy at heart?
Kevin Madigan:
I suppose I’m really a FOH mixer at heart. I can do both and I’m happy enough at either end of the snake, but I enjoy FOH a bit more.
Mike Dias:
What advice would you give engineers deciding between monitors and house?
Kevin Madigan:
Often it’s just luck — whether you start as a monitor tech or FOH tech. You won’t know which you prefer until you’ve done both.
Get educated. Understand sound deeply. Read books like Sound Systems: Design and Optimization by Bob McCarthy or Sound System Engineering by Don Davis.
Get experience doing everything — making cables, packing trucks. If you want FOH or monitors, position yourself to make that possible. Never say no to gigs within reason. Own mistakes and learn from them. Technical skills get you hired — interpersonal skills keep you hired.
Mike Dias:
Is the money the same?
Kevin Madigan:
That depends on experience and situation. If you’re integral and trusted, your value reflects in your pay — regardless of position.
Mike Dias:
Have you done studio engineering?
Kevin Madigan:
Yes. I recently mixed a live DVD at Groovemasters and The Village Recorder. I enjoy studio work quite a lot.
Mike Dias:
Many bands tour with FOH engineers but no dedicated monitor engineer. Is it feasible to introduce in-ears?
Kevin Madigan:
It’s difficult but possible. IEM mixes demand the same attention as FOH — subtleties become more exposed. A skilled monitor engineer familiar with the act is essential.
Mike Dias:
Is FOH mixing easier when bands use in-ears?
Kevin Madigan:
Yes. Fewer high-level stage sources interacting with FOH makes mixing easier.
Mike Dias:
Who gets more grief — monitors or FOH?
Kevin Madigan:
Artists are wonderful people. Closest to fire, first to get burned.
Mike Dias:
Thank you Kevin — see you on the road!
END OF TRANSCRIPT
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(A Note for the Intrepid Human)
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