Soundcheck Essentials

Dialing In – Tips for a Quick and Effective Pre-Show Soundcheck

You've loaded in your gear and it's time for soundcheck – the often rushed, chaotic prelude to a gig that can make or break your sound that night. **Soundcheck Essentials** will teach you how to maximize this precious time so you and the sound engineer get the mix right and ensure you sound great on stage and out front. In this guide, we'll cover how to prepare for soundcheck (coming in tuned, setting up efficiently), how to run through each instrument and microphone systematically, what to listen for (monitors, feedback, mix balance), and how to communicate with the sound crew effectively. A good soundcheck sets you up for a smooth performance – no nasty feedback surprises or "I can't hear the vocals" moments mid-show. Even if you're not a tech wizard, following these tips and soundcheck routines used by the pros will help you get a solid sound faster and with less stress. Because the goal is simple: finish soundcheck knowing you can hear everything you need on stage and that the audience will hear your music clearly and powerfully. Let's make that happen!

Be Ready and Efficient

Set Up Quickly and Check Your Gear

Time is often very limited for soundcheck, especially if you're one of several acts. Arrive early and have your gear easily accessible so you can set up fast. This means: drums out of cases and roughly assembled side-stage if possible, amps on stage ready to place, cables wound and ready – basically reduce downtime. The faster you get your gear in place, the more time you have to actually soundcheck. While setting up, the engineer might start line-checking (asking for each instrument sound one by one), so be prepared to play a bit even as you finish setting up. Also, double-check your gear before soundcheck starts – change that almost-dead battery in your active pickup, tape down any pedals that might snag. Many issues that eat time (like noisy cables or a crackling amp input) can be caught during your own prep. Carry spares of critical items (cables, strings, etc.) so if something fails you swap it immediately rather than troubleshooting endlessly. Engineers appreciate a band that is self-sufficient – e.g., you plug in and you already know your stage layout, your amp works, etc. If you need direct boxes or special hookups, inform the engineer or stage tech early so they can accommodate. Essentially, come ready to plug and play with minimal fuss. One tip: label your gear (which line is keys Left vs Right, etc.) so when the engineer asks "what is this line?" you have an answer. At big shows, color-coded or labeled cables save confusion. The goal is to spend soundcheck time *checking sound*, not debugging gear or moving equipment. If everyone is quick and ready, you can get a thorough monitor check (which benefits you greatly). So be that band that is ready to rock when their soundcheck slot starts – not still twiddling with gear problems. Efficiency here means more time to fix mix issues and perhaps even run a song in full, which is golden for peace of mind before the show.

Communicate Your Needs Upfront

Right at the start of soundcheck (or even better, advance in email), let the sound engineer know any particular needs: "We have 3 vocals, two need reverb, one needs a lot of monitor for acoustic guitar," or "Our drummer sings, so please give him a monitor feed with mainly his vocal." Also, if you plan any unusual things (like you start a song off-mic from the stage or you switch instruments mid-set), mention it so they can plan. This heads-up helps them shape the check. For example, if you say "we have a backing track for one song," they'll make sure to line-check that input and give you monitor of it. Don't assume they'll magically know your preferences – politely share them. During line check, be proactive but not overbearing: e.g., when checking your mic, state how you like it in the monitor ("I'd love a lot of my vocal in my wedge please" – that gives them direction). If you need something specific like "kick drum heavy in my monitor" or "please no keyboards in this wedge" let them know when it's relevant. It's better to express needs early rather than wait until halfway through the show to complain. That said, prioritize: focus on essentials in soundcheck (each member at least hears themselves and what they rely on). Minor tweaks can be done later if time is short. Additionally, ask how they'll run the soundcheck: some do "full band at once" soundchecks, others do instrument-by-instrument line check then a short song jam. Follow their lead but ensure your needs are heard. If you have an on-stage mixer or in-ears you control, communicate who is controlling what so there's no confusion. Essentially, treat the sound engineer as a teammate – share what you need calmly and clearly, and also listen to their instructions (like 'please give me just kick and snare now' – do so). The smoother this cooperation, the better your sound will be. And thank them when they get it right or adjust something – goodwill goes a long way. Remember, a sound engineer can make you sound amazing or terrible with a fader slide, so work *with* them, not against. A quick discussion before or after check about any tricky cues ("we start set with a track, you'll hear us count off stage then lights up on track start") also helps ensure the show runs smoothly. Good communication = good soundcheck.

Check Monitors Early

One of the main goals of soundcheck for performers is to get a comfortable monitor mix on stage. You can't give your best if you can't hear yourself or key bandmates. So, as soon as each instrument is being checked, think in terms of monitors. Many engineers will start with drums – while they're setting drum levels, you as vocalist for instance should be thinking, 'Do I need a lot of kick in my monitor? maybe not, maybe just a touch of snare.' When it comes to your turn (say guitar), have them dial it not just for front of house but ask 'can I get that in the wedge too' if needed *while* they're on that channel. Basically, adjust monitors as you go instrument by instrument. Some engineers do monitors after FOH check, but if you're short on time, politely interject monitor requests during line check (like 'Can I get more keys in my monitor?'). If possible, play a bit of an ensemble part together to test monitor mix – e.g., the whole band plays the chorus of a song at soundcheck so everyone can say 'Okay, I need more lead vocal in mine'. Do this *before* you leave the stage. It's much harder to fix monitors mid-show with audience there. The earlier in soundcheck you get monitors right, the more time to adjust and test them. If you're using in-ear monitors, definitely do a thorough check – make sure each mix has what the person wants (like the bassist might want kick and a bit of guitar, singer might want mostly their vocal and piano, etc.). Actually sing a big note with the band playing at soundcheck to see if your ears distort or if you can hear harmonies. It's common to run out of time, but insist on at least a quick monitors check at the end: e.g., 'Can we quickly play the chorus of song X to verify monitors?' Most engineers will allow that if schedule permits. It's worth it – some people skip soundchecking monitors and then on song1 they're panicking 'I can't hear the keyboard!'. Avoid that by troubleshooting now. Another tip: check monitor levels at performance volume – sometimes soundcheck is at lower volume and later monitors feed back when you crank amps. So try to play one part loud similar to show to see if any monitor rings (if so, engineer can EQ it. Also, if you have multiple monitor mixes, learn who's on which mix (like 'Mix1 is singer+guitar, Mix2 is drums, Mix3 is bass+keys'). Then you can say 'In Mix2, can we add more bass?' Instead of 'his monitor'. Saves time. Overall, prioritizing monitors early ensures you'll hear yourself properly – one of the main points of a soundcheck for performers. (We'll talk about FOH sound next – which is more on engineer, but you can help there too).

FOH Sound – What to Listen For

Though the engineer handles the front-of-house (main audience) mix, you as a performer should still pay attention during soundcheck to how you sound out front. Often, someone from the band (or your manager) will stand in the house and listen while you run a song. If you can do that (take turns, or have one member play while others listen), do it! You might notice e.g. the backing vocals are too low or the kick drum is thudding too loudly in the room. Communicate any major issues you hear to the engineer respectfully – 'Hey, from out front it seemed the vocals were a bit buried, could we get them up a tad in the mix?' Many times, engineers appreciate band members who know their sound and can give reference – just don't try to do their job entirely (they know the room acoustics better). But do mention if something obvious is off – they might not know your music intimately (so they might not realize lead guitar had a solo that should cut through – if it's too quiet at check, point that out: 'Actually the lead guitar will take melody there, can we raise it?'). Some engineers will gladly adjust. Others might be prickly – read the situation; if there's an issue and they're not receptive, you might have to just adapt on stage (e.g., ask band to play quieter if sound out front is unbalanced and engineer isn't fixing). But usually, if you kindly express 'I want the audience to hear the keys clearly in that intro', the engineer will oblige. Also, do a full-band soundcheck song if possible – this lets the engineer mix levels together. Choose a song that covers a bit of everything (vocals, loud parts, soft parts) – that gives the engineer a reference for your loudest and quietest moments and how to set gain (so you don't get feedback on loud bits or lost on quiet bits). If short on time, you can maybe do half a song or just a big chorus. Listen for feedback or imbalances then too – if something feeds back, ask 'is that monitor or FOH?' The engineer might ring it out (eliminate that frequency) now rather than mid-show. Finally, trust the engineer's suggestions – if they say 'the room is boomy, I might cut some low end from guitars', let them – they usually know best for FOH sound. So it's teamwork: you provide the input and performance, they provide mixing expertise. Use soundcheck to become a team. The better your FOH sound, the better crowd response and confidence on stage. So it's definitely in your interest to care about it. But once show starts, focus on performing – you won't hear FOH directly, so at that point trust the soundcheck did its job and just deliver. If something is off mid-show (like a mic goes out), address it, but generally a solid soundcheck prevents 95% of issues. So invest in that time wisely, even if it feels boring to go 'Check 1-2' multiple times. It's the foundation of a great sound night.

Running the Soundcheck

Typical Soundcheck Order

Most full band soundchecks go something like this: engineer requests each element one by one. Example: "Kick drum, please" (drummer plays kick several hits), "Snare" (hits snare), toms, cymbals... "Bass guitar" (bassist plays a riff), "Guitar 1" (play something on all strings), "Guitar 2", "Keyboard" (play chords in different ranges), then "Lead vocal" (sing a line at normal volume, then maybe at loudest volume you plan to use), then each backing vocal similarly. During this, engineer sets rough levels and kills any feedback frequencies. *Be patient*: don't noodle on your instrument out of turn, it slows things (and annoys the engineer because they can't isolate channels). Only play when asked. Everyone else should stay quiet during each line check so the mic is isolated. The engineer may ask for certain things: e.g., "Guitar, give me your distortion sound now" – do it. They want to see that loud tone to set gain accordingly. They might ask vocals to project loudly for a moment to set proper headroom. Comply – better a squeal now than mid-show. Once individual lines are done, they'll likely ask the whole band to play together (often just the chorus of a song or a jam) – this is where they'll adjust the overall FOH mix and monitors. *Play like you intend to in the show*: don't hold back – if you usually jump and play harder on stage, do a bit now so levels are accurate. Also, play the way your arrangement goes – e.g., if there's a part where only vocals and guitar are alone, maybe demonstrate a snippet so engineer hears that balance. The soundcheck jam is also your chance to request any final monitor tweaks ("more lead vocal in Monitor 2, please" etc.). After that, engineer may do a quick feedback check – raising each open mic to see if anything rings, and EQ it out. Then they say it's done. At that point, avoid more loud sound on stage (some bands keep jamming – don't, you risk messing settings or irritating staff if time’s up). Now, if you have any concerns, voice them *quickly* – e.g., "My vocal felt a bit low in my monitor during that jam, can I get a touch more?" If time, they'll tweak. If not, at least you know to signal for it during show if needed. Keep an eye on time: if you're last to soundcheck and doors open in 5 minutes, be concise. Conversely, if you have plenty time and something sounds off in monitors, politely ask to run one chorus again to fix it. It's a delicate dance – you want good sound, but you don't want to overrun time or annoy crew by endlessly tweaking. Use your judgment. Key is to hit the vital points (all instruments audible, no feedback, you can hear yourself and cues). Once those are set, it's often best to stop – minor mix perfection can be handled by engineer during the show as they hear the room filled with people (crowd absorbs sound and changes acoustics, so a perfect empty-room soundcheck mix might still require adjustments with audience). So trust they'll ride those faders. Summary: follow the typical soundcheck flow, be attentive, and focus on monitors and obvious mix issues primarily. A well-run soundcheck can be done in 15–20 minutes for a band once you're used to it, leaving you time to relax before show. It's part of being pro – audience might not see it, but they'll definitely hear the results.

Line Check vs Full Soundcheck

Sometimes you won't get a full soundcheck (for instance, at multi-band festivals or if you're the opener arriving right before show). In those cases, you do what's called a 'line check' – basically, the engineer just makes sure each input is working and maybe a quick monitor adjustment, usually just minutes before you play. It can be hectic, but same principles apply: be ready, quick, and communicate the absolute essentials. For example, if you only get a line check, you might only have time to say 'Vocals in wedge and some keys please' while the engineer verifies each channel. If you know that's the case, you *really* have to have your stage sound balanced among yourselves (like amp levels relative to drums) because FOH mix might not be perfect without a full run. In such scenario, it's crucial the band itself dynamically balances – e.g., during line check you might ask 'Can I hear a bit of his guitar in my monitor?' but FOH you trust the engineer's quick leveling. So how to prepare? At practice, try a session where you set roughly gig volume and mix yourselves to sound decent without PA – that way, if FOH is subpar, the crowd still hears a balanced stage sound (especially in small venues). Also, do a quick internal soundcheck on stage right before you play: many bands play a quick chord or scale as part of their show intro to adjust their own levels or monitors one last time. The audience may think it's part of intro or a quick tune-up, but you can use it to gauge stage sound. If line-check only, don't panic – many clubs the first song effectively becomes the soundcheck as engineer tunes the mix on the fly. So choose a first song that's simple and not your biggest number (since it might take half of it to get sound sorted). Some bands use their second-best song first for that reason, then best song second when sound is dialed in. Adapt your setlist for no soundcheck conditions (maybe start with a reliable cover or solid mid-tempo tune instead of something vocally extreme). Keep gestures ready to communicate with engineer mid-show (point up at monitor and your mic for 'more me', etc.). It's not ideal but it happens often. The key remains: line check what you can (make sure every mic got a 'Check,1-2' and instrument made a peep so the engineer un-mutes them and sets gain). If you only get that, take a breath, know everyone else is in same boat, and do your best. A well-rehearsed band can still sound good with minimal soundcheck if they follow these efficiency tips. But whenever you *can* get a full soundcheck, treasure it and use it wisely as per earlier sections. Ultimately, whether full or line check, preparation and clear needs are your allies to achieve good live sound. And if sound issues happen live (they sometimes will despite all effort), stay professional and play through – often the engineer will fix it in a verse or two. Audiences are forgiving if you handle it smoothly (hey, even big acts get occasional mic dropouts). You got this!

Don't Soundcheck the Whole Set (But Spot-Check)

It can be tempting to try and run through entire songs in soundcheck, especially if you're worried about a new tune or tricky part. Realistically, with limited time, focus on testing representative sections. Soundcheck isn't practice – it's about checking sound. If you spend 5 minutes jamming a song, that's 5 minutes less to fix monitor issues. So instead, spot-check the elements: for instance, do the chorus of your hardest song to see if all instruments balance and monitors are good (the engineer hears your loudest vocals, etc.). Or if you have a complex vocal harmony part, maybe ask 'can we briefly try the 3-part harmony of Song X, just a few bars' – the engineer can solo those in FOH to mix them well. But avoid playing every song start to end – the audience might hear (if doors are soon) and it can fatigue your band before the show. Save energy for the performance. I recall a saying: "Soundcheck is for sound, not show" – meaning focus on technical not artistic. That said, if you have a new arrangement or guest musician, do a short run of that segment to ensure everyone knows it in live setting (soundcheck can catch 'oops we forgot to tune the guest's guitar'). But be mindful of time always. Sometimes a quick line check suffices and then the engineer says 'do one number'; pick the song that gives them the most info (often one with full band and vocals). If you have an extra time after sound is dialed, you can ask 'do we have time to run a new song for our comfort?' – if yes, great, if not, don't push it. Also, don't feel obligated to play loudly the whole soundcheck – once levels are set, preserve your hearing and voice. Many singers mark lines instead of belting full-out once the mic is set (engineer might ask for one big note though to set headroom). Drummers: once kit is checked, maybe don't slam every hit, save it. But play as you would in show when asked – you want realistic levels. It's a balance of testing and not overdoing it. Another don't: avoid wanky long solos in soundcheck – the audience (if hearing) and crew find it tiresome. Keep it purposeful (some riff to set tone, then stop when eng says okay). If your whole band really needs to rehearse a song, schedule that in earlier, not in soundcheck time if possible. Soundcheck windows can be cut short unexpectedly (delay at the venue etc.), so hit priorities first (drums, vocals, monitors) and know that in a pinch you can skip running certain songs if you're confident on them. Flexibility again. The main reason not to soundcheck everything is you want to leave some element of surprise for the audience and not wear yourselves out. It's okay if the first time you play Song Y that day is on stage – as long as you rehearsed it prior and soundcheck got the levels right for similar songs. Trust your rehearsal. Use soundcheck to remove technical barriers so your rehearsal prep can shine through on stage without hindrance. So yeah, check spots, not the entire set, unless you have an unusually long soundcheck slot (which rarely happens outside dedicated tour production rehearsals). Even then, often artists won't do full out run-through at soundcheck to conserve energy for the actual show (that's what rehearsal days are for). So bottom line: be strategic in which parts of songs you play at soundcheck to maximize info gained, then tuck those instruments away and get ready for the real deal. You'll be sounding great and still fresh to give 100% when showtime arrives.

Stay Calm and Professional

Soundcheck can sometimes be stressful – technical problems, time running out, venue staff rushing you. The best thing you can do is stay calm and professional. If something's not working (e.g., your mic has no sound), calmly alert the engineer or stage tech, "I'm not getting any signal here." Then patiently let them troubleshoot. Getting frustrated or snapping at crew will not fix it faster – in fact it can sour their willingness to go the extra mile. Keep your cool even if things are behind schedule. The audience likely isn't aware if soundcheck is chaotic, so no need to carry that stress into the show. Also, maintain a professional demeanor among bandmates – no arguing on stage during check (save disagreements for private later). Present as a unit working with crew to achieve good sound. The calmer and more organized you are, the more the crew trusts you and might give you more leeway or effort. If you have a concern, express it politely: "We have a bit of feedback in this monitor when I play that note – any chance to notch it out?" – Most engineers will gladly tweak. If they say no time or it's fine, accept it and mentally prepare a workaround (e.g., stand a bit off the monitor mic axis to avoid feedback). Sometimes compromise is needed. Also, remember to say thank you after – a quick "Thanks, that sounds great" to the engineer and "thanks" to stagehands for helping. That rapport can pay off – next time you play there or later that night, they'll be more inclined to assist if something goes awry. Being professional also means being ready at your scheduled time. Nothing upsets crew more than a band that is supposed to soundcheck at 5:00 rolling in at 5:15 and then taking forever to set up – it throws off the whole day's schedule. Then everyone's tense. So respect call times. If you absolutely can't make an early check and have to line check later, communicate that well in advance so they plan accordingly. And if tech issues shorten your check, roll with it without drama. A pro band can adapt (like the line-check scenario above). Maintaining a positive attitude, even if soundcheck was rocky (e.g., if it ended without time for a full run-through), will help your mindset on stage. You might think 'okay, monitors aren't perfect but we'll adjust live – we've done it before'. Versus being flustered 'ugh soundcheck sucked, I'm so worried' – that can hurt your performance. So control what you can, accept what you can't by showtime, and go out there focusing on delivering the show. Audiences rarely know if your monitor mix is weird – they judge by your performance quality, which can be high even if you were unhappy with soundcheck, if you stay focused. So treat soundcheck seriously but don't let any imperfections shake you. Prepare, adapt, and then once it's done, shift your headspace to performance mode and trust you've done all you could. A calm, confident performer after soundcheck will nearly always put on a better show than a frazzled one. So use these tips to ensure soundcheck runs smoothly – but even if it doesn't, keep calm and carry on rocking.

After Soundcheck

Final Tweaks (Quietly)

Once soundcheck is officially over, the venue might open doors or play background music. If you still have a few concerns (maybe you want to mark your amp settings with tape, or quickly check tuning after a loud check), do those quietly and quickly. Avoid playing loudly on stage after line check, as audience might be coming in – it's not good to noodle loudly in front of early crowd (comes off unprofessional). If you have in-ears, perhaps go backstage and check your mix there if wireless allows (some artists have personal mixers to adjust their IEM mix post-check). If something was really off and no time to fix, talk with band how you'll handle it live ('okay, the engineer couldn't get more guitar in monitor, so Bill, please stand closer to me during solos so I can hear you acoustically'). These little plans can help. Also, ensure all gear stays on stage correctly – sometimes opening acts need to move stuff aside after check; clarify where things will be at show start and coordinate with crew so your monitors are still roughly positioned etc. Post-soundcheck is also time to eat, change, etc., but keep an ear on the environment – occasionally soundcheck might resume for another band and mess your settings (some engineers will note or save your mix, some might twiddle those knobs for next act – if the latter, maybe ask 'will you recall our mix or should we do a quick check at line-check right before set?'). Typically, headliners re-check a bit before playing, openers often have to trust earlier check. If you get an unexpected second short check (like a quick vocal line-check right before you play), use it to quickly verify monitors again since empty venue vs filled can change acoustics slightly – a good engineer might bump some levels knowing crowd is in. After check, don't drastically change things yourself – e.g., don't go and crank your amp volume because it feels low in the empty room; the engineer set that level for a reason (maybe to balance FOH). If you feel something really needs change ('I need more reverb on my vocal'), mention it to engineer or do it on your gear if you control it, but be mindful how it'll impact things. Often it's best to trust the soundcheck settings come showtime. Relax – you put in the work. Do a mental review of any cues or changes decided in check (e.g., 'we decided I'd count in Song 2 instead of drummer, remember that'). Then, try to shift focus to performance: soundcheck is done, now it's about delivering emotion and showmanship. Some artists like to do a quick warm-up again (a few scales, a quick drum warm-up pad) after a break. Good, do that off stage or quietly. Hydrate, etc. The period after check and before show is ideally low-stress: your sound is set, your gear is stage-ready, so you can gather your energy. If something from soundcheck is nagging at you ('monitors might squeal if I stand at edge'), come up with a solution now (like 'I just won't stand directly in front of that wedge'). Then let it go. Trust all will be fine. Prepare for show the same whether soundcheck was smooth or rough – this consistency keeps you centered. And if sound issues do pop up in show, you'll handle them like a pro because you've done your due diligence. Finally, enjoy your performance! A solid soundcheck means you can take the stage confident that tech is in order, so you can lose yourself in the music. And that is the ultimate goal of all these 'essentials'.