Soundcheck Procedure: Systematic Approach to Pre-Show Setup

A consistent soundcheck procedure ensures every element of the PA system and monitor setup receives proper attention before audiences arrive. Rushing through soundcheck or skipping steps creates problems that emerge during performance when correction becomes difficult. Methodical procedures produce reliable results regardless of venue or time pressure.

Before Musicians Arrive

System setup should complete before musicians arrive for soundcheck. Speakers positioned, cables run, mixer configured, and basic system function verified create a ready-to-check environment.

Play music through the system at moderate volume to verify all speakers produce sound. Pink noise or familiar reference tracks reveal frequency response anomalies. Walking the room while listening identifies coverage problems before soundcheck begins.

Verify all input channels receive signal by speaking into microphones or tapping instruments. This preliminary check catches cable problems, phantom power issues, and routing errors before musicians occupy their positions.

Prepare documentation including the input list, stage plot, and any special notes for the show. Having references available speeds problem-solving and prevents forgotten requirements.

Line Check Phase

Line check systematically verifies every input reaches the mixer correctly. This check does not require musicians playing at performance level—simple signal confirmation suffices.

Work through the input list channel by channel. Speak into each microphone: “Kick drum, check. Snare, check. Hi-hat, check.” Confirm signal appears on the correct mixer channel. Verify levels are reasonable and that no obvious problems exist.

Direct inputs from keyboards, backing tracks, and other line-level sources confirm by playing brief content. Acoustic instruments requiring pickup systems check by playing a few notes.

Line check catches problems including wrong channels, faulty cables, missing phantom power, and incorrect gain settings. Addressing these issues before soundcheck proper saves time and frustration.

Drum Soundcheck

Drums typically check first since they provide the rhythmic foundation for everything else. The drummer plays each piece individually while the engineer sets gain and basic EQ.

Kick drum check first. The drummer plays consistent kick hits while the engineer adjusts input gain, verifies the channel meters show appropriate level, and listens for obvious EQ needs. The kick sound should have appropriate weight and punch.

Snare drum follows kick. Listen for body, crack, and any problematic ring that needs taming. Snare gate settings, if used, require adjustment during this phase.

Remaining drums and percussion—hi-hat, toms, overheads, percussion—follow in logical order. Each source receives individual attention before combining into the overall drum sound.

Have the drummer play the full kit together once individual elements are set. The combined sound may reveal balance issues not apparent from individual checks. Adjust relative levels and EQ to create cohesive drum sound.

Bass and Rhythm Section

Bass guitar checks immediately after drums since these elements lock together rhythmically and sonically. The bassist plays while the engineer sets gain and finds the appropriate relationship between kick and bass.

The traditional approach gives kick drum deep fundamental emphasis while bass guitar provides mid-bass punch and harmonic content. Different music styles prefer different balances, but kick and bass must complement rather than compete.

Keyboards and rhythm guitar follow bass. These instruments fill harmonic space and must find their places without masking vocals or cluttering the low midrange. Panning decisions for rhythm instruments spread the sound field appropriately.

Vocal and Lead Instruments

Vocals check after the rhythm section establishes context. The vocalist sings at performance level—not talking, but actually singing—while the engineer sets gain, EQ, and compression.

Vocal presence requires carving space in the mix. The rhythm section may need minor EQ adjustments to create room for vocals. Typically reducing 2-4 kHz slightly on competing instruments helps vocals cut through.

Effects on vocals—reverb, delay—set during vocal soundcheck. Start with subtle settings; live environments add natural ambience that reduces the need for heavy processing.

Lead instruments check after vocals. Guitar solos, keyboard leads, and other featured instruments need to be heard clearly when taking the spotlight. Balance these elements so they project appropriately during their featured moments.

Monitor Soundcheck

Monitor soundcheck follows FOH setup, though some engineers prefer addressing monitors first. Each performer needs a mix that supports their performance without causing feedback.

Work with one performer at a time. The drummer hears their mix while the monitor engineer or band member builds it from scratch. Add elements the drummer requests: click track, bass, vocals, keys.

Move to the next performer position and repeat. Cross-check when multiple performers have their initial mixes—playing together may reveal new needs or conflicts.

Performers should stand in their actual performance positions during monitor check. Moving between soundcheck and performance positions changes the acoustic relationship to monitors.

Full Band Check

Run through a song or substantial portion after individual elements are set. The full band playing together reveals interaction issues not apparent during isolated checks.

Listen for balance problems, masking between instruments, and overall tonal quality. The transition from soundcheck to full energy often brings level increases that need accommodation.

This full band check represents the closest approximation of performance conditions. Problems caught here can still receive attention; problems discovered during the show offer fewer options.

Final Preparations

Walk the room one more time listening to the full band sound from various audience positions. Note any problem areas and address what adjustments might help.

Confirm monitors satisfy all performers. A brief “are you good?” to each musician catches lingering issues before the show begins.

Set master fader positions for the start of the show. Many engineers start with masters slightly below performance level, bringing them up as the show begins and energy increases.

Mute channels not immediately needed. Open channels with unused microphones represent feedback paths and noise sources. Starting clean provides better control as the show progresses.