Karaoke Forums

Any opinions on this?


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It's ok if you're stationary but many singers will move about the stage. In Roger Love's karaoke book he talks about moving to the right, left and center stage positions during a song. To hear the monitor beats not hearing yourself so placing it in a location front and center seems good. A floor monitor is usually placed far front and center. Another good location might be above far far front and center on the ceiling.

It's good for small area that need a monitor but don't have room for a regular floor wedge. Like said if there is enough room to move around on stage, a floor wedge is probably a better choice.

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I own two of these little rascals as well as two 12" and two 15" monitors. I only mention that I have other monitor options so you know where I'm coming from when I say 95% of the time I just use one hotspot. They are very nice, especially for their size. They cut through the mix extremely well, very light and practically indestructible. I've owned mine for at least ten years and have had no problems. Another nice thing about them is that they are virtually feedback proof in comparison to floor wedges.

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Quickness of mind will deceive the eye

Somebody should probably tell Roger that it depends on the mic being used where the monitor is located. I know for a fact that if your using a Shure Beta 58 that the monitor should be at a 45 degree angle to the rear of the mic.

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Quickness of mind will deceive the eye

If the singer is holding the mic then the relative response to the mic position constantly changes. You can't position a monitor to float around axially with a Shure 58 while it's moving around. Otherwise just try to place it where you can always hear yourself no matter where you stand and no matter what mic is being used.

I find it hard to believe we're having such an in depth conversation on monitors in Karaoke. IMO it just doesn't get any easier than doing a monitor in a Karaoke situation. If you want a real challenge try running multiple monitors with 5 or 6 open vocal mics, 2 or 3 guitar mics and countless drum mics (thank god the keyboards and bass are direct boxed). Imagine not only doing that but at a substantially higher SPL as well, and by the way, everybody has to hear themselves. I also think Shure probably stipulates monitor placement on the Beta's for a reason. The bottom line is the OP asked a simple question about Galaxy Hot Spots, I still say they are great.

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Quickness of mind will deceive the eye

Don't forget about the times when you are working FOH & you don't have your monitor guy on side stage & you have to run back & forth doing both job for the night! This is where you hope your initial settings for the monitors hold up!

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Been there...done that. Hope Rip doesn't get to upset, just a small hijack, Hey Lonnie, have you ever had a night when you asked the guys how their monitors were and they all said, "couldn't be better, don't change a thing". I wonder why all musicians appear to be deaf.

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Quickness of mind will deceive the eye

The truth of the matter is no, we don't always hear ourselves when singing karaoke and also singing with live sound. But we're just talking about karaoke here not Jimmy Page at the Great Stadium in Beijing. I can tell you about that!

It's just common sense to place it where you can always hear it. These spot monitors are designed to be mounted on a mic stand. So placing it like a mic is most likely impractical in most cases. A floor monitor may take up too much room.

I would say that 80 percent of the time I have difficulty hearing myself when singing karaoke due to monitor and speaker placement or no monitor at all. Shure, having a monitor is great but it's useless if not used effectively.

Nope, but it's also those same nights that I touch knob, acting like i'm moving it & look up for their approval & 9 out of 10 times they give me the nod ok! !
I was the same way though when I was on stage, had to have my guitar a little hot on my side.

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Isn't that cliche? I thought I read that somewhere in a guitar magazine. That fake guitar twiddle thing with the FOH thumbs up. Usually the live band mix thing is an adolescent issue where I'm coming from. Some of us have moved on as I've seen guys I knew from high school rubbing their eyes from working a club mixer. My normal acquaintances nowadays are sound people for some of the top acts in the nation. And my work is established with some of the world's leading sound contractors. In about 90 percent of the karaoke venues I visit in the greater LA/OC area I've experienced issue with not being able to hear vocals properly. So it's no great joy to sing karaoke after a day of putting my heart and soul into the industry and hearing what I hear. Am I WILLIAM HUNG?

Ok, I notice I have 5 lifesavers under my name ( I know, I know but that's what I think of when I see them) which just means I ask a lot of questions. What is IMO, FOH and OP. Actually, is IMO "in my opinion"?

So London, hot spots on mic stand? What kind/brand if so? Lonman, what kind of wedge would you recommend remembering I have the 215s.

IMO=In My Opinion
FOH=Front Of House - or main speakers
OP=Original Post (thread opener).

Any mic stand would hold the hotspot. Just make sure it's a straight stand & not a boom.

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Ok, so this should probably go without saying but I will say it anyway. I just want a speaker to help the singer hear themselves. Sounds like different opinions, I've also read some reviews on hotspots, many not favorable.

JD, you're so full of crap. Everything you say smells to high heaven. Why don't you go hang out with all your high falootin top national acts? You shovel so much bull we all need to wear hip boots whenever you post. Crawl back under whatever rock you came from and stop clogging up every sound thread with your make believe nonsense. I for one have had plenty.

Rip, only you know the size retrictions you have to deal with. If your just planning on running vocals through a Hot Spot you will be fine, if you intend on putting music through it also then I would probably go with a floor wedge. In my situation I run only vocals through the Hot Spot and it does a fine job. If you do decide on a floor wedge I prefer the type that the horn runs vertical and affords you two different listening angles of operation. This makes it more versatile on placement angle and distance. If you go with a Hot Spot any decent quality mic stand will work, I prefer the round base style and have been known to slip a weight from a bar bell on it just to add a little more stability when running a monitor on it.

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Quickness of mind will deceive the eye

Well now, i never thought of that way. What should I run thru the monitor/s? Should I just run vocals or everything? Does it matter? Pros and cons?

Let's get it straight. Well' for one stogies DO smell like crap. Two, just go blow.
You're just karaoke like any other hack so live with.

I'm trying to address valid monitor issues here so you can take your insults back to the gutter where you belong. Oh and by the way if you have any constructive monitor tips to contribute then do so.

With total disregard for your egos and experience I will give to you the opinions of a singer with more than 50 years experience with audio stage monitors. This includes venues of every size, acoustic properties and with crowds of over 5k. At large venues whether outside or inside with varying reverbs a wedge is necessary to hear one's vocal with no EFX and with no background. This is true esp with a new song or times when the throat was dry and I was unsure. This was with systems that were pure PA (public address) no EFX or compression. After singing on many systems I can compensate if I can hear my dry vocal. This was true with karaoke systems years ago.

However as systems became more sphisticated with compression and EFX I found myself wandering out and listening to the mains to hear what I really sounded like.Then for years as I setup I would set the stage monitor at the proper angle where at one spot I could hear monitor only, then with a few steps hear only the mains. There is a "sweet spot where one can hear in balance". As we applied more and more EFX our singers were complaining (I knew they were not hearing themself and thought they didnt sound as good as everybody else}. In most venues the monitor is daisy chained off of a main, aimed back at the stage and the novice singer hears what the audience hears and they sound as good as the rest. I do not use a cheap monitor it is a JBL EON 10 G2..Read that again....And then read that again..k

The little hot spot would work in some venues. As an experienced singer I could use it but I would like a "sweet spot" Remember a typical speaker has a 90 degree dispersion angle. A directional mic such as a 58 has no problems with feedback unless it is pointed at the monitor. When at a gig I listen to my singers and try to provide what method they want. A simple formula does not work with the wde range and experience of karaoke singers so quit looking for a simple fix. Learn with experience and remember each venue requires a different requirement for stage monitors. Learn to adjust for each of your regulars accoerding to their experinces, cooments and wants. With total disregard for your egos and experience I will give to you the opinions of a singer with more than 50 years experience with audio stage monitors. This includes venues of every size, acoustic properties and with crowds of over 5k. At large venues whether outside or inside with varying reverbs a wedge is necessary to hear one's vocal with no EFX and with no background. This is true esp with a new song or times when the throat was dry and I was unsure. This was with systems that were pure PA (public address) no EFX or compression. After singing on many systems I can compensate if I can hear my dry vocal. This was true with karaoke systems years ago.

However as systems became more sphisticated with compression and EFX I found myself wandering out and listening to the mains to hear what I really sounded like.Then for years as I setup I would set the stage monitor at the proper angle where at one spot I could hear monitor only, then with a few steps hear only the mains. There is a "sweet spot where one can hear in balance". As we applied more and more EFX our singers were complniang. In most venues the monitor is daisy chained off of a main, aimed back at the stage and the novice singer hears what the audience hears and they sound as good as the rest. Read that again....And then read that again..k

The little hot spot would work in some venues. As an experienced singer I could use it but I would like a "sweet spot" Remember a typical speaker has a 90 degree dispersion angle. A directional mic such as a 58 has no problems with feedback unless it is pointed at the monitor. When at a gig I listen to my singers and try to provide what method they want. A simple formula does not work with the wide range and experience of karaoke singers so quit looking for a simple fix. Learn with experience and remember each venue requires a different requirement for stage monitors. Learn to adjust for each of your regulars according to their experiences, comments and wants.

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