In-Ear Monitors: How to Get a Good Mix

Took a week off - back in the practical saddle again! 

I want to give a few tips about In-Ear Monitoring (IEM) mixing this week.  

 A lot of churches have switched from floor wedge speakers to In-Ear systems in order to cut down on stage noise (giving the sound engineer more control and flexibility for front of house mix).  Additionally, with the popularity of the Aviom system, musicians are able to create their own custom monitor mix.  

In-Ears can take some getting used to and getting a good mix can be challenging at times.  Obviously, the number one goal is to be able to hear yourself, but in order to achieve the "live" feeling that you may be used to and work together as an ensemble, it's nice to be able to hear others as well.  

To try and help church musicians I've created a short, step-by-step process that I've found works best.  

1.  Plug into the monitor system.  (Don't start turning things up before you listen to your mix!)

2. Make sure the master volume is around noon or one o'clock and all EQ at noon.  

3. Bring up your instrument or voice to around 50-75% or until you can hear it comfortably

4. Turn everything else all the way down

5.  Play through a song and bring up other instruments only if needed and just enough for you to hear them

6. Save your mix! 

The truth is, it may not be necessary to add some of the other instruments either because you may not need them in your mix, or you may be able to hear them live due to proximity and/or stage volume.  

Panning 

For additionally clarity, it's helpful to pan instruments left and right especially if there are multiple players on a similar instrument.  Generally, it's good to have your own instrument "center" or not panned along with the bass and drums as they're the rhythmic foundation.  However, it can be beneficial to differentiate between two acoustic guitars or two keyboardists by panning them left and right.  What's also helpful is experimenting with varying degrees of panning in order to achieve even more differentiation.   

Bonus Tips

Get good, isolating In-Ear monitors.  Isolation will cut down on the amount of stage or ambient noise you hear and allow you to have more control over your mix.  Custom molds are best as they are designed for your unique ear shape.  

Use BOTH ears all the time.  It can be tempting to go "one ear in and one ear out", especially if you sing.  However, using only one monitor can lead to permanent hearing damage as it encourages higher sound levels.   To achieve the sense that you are hearing your voice "live", some systems allow you to add reverb to your voice or you may want to add an ambient mic(s) in the house.  

Turning down is more effective than turning up.   If you're having trouble hearing yourself, turn something else down!  Turning a channel up can often begin chain reaction in which everything keeps getting turned up.   Once you begin to turn others up, it may inhibit you from hearing yourself and can lead to an extremely loud, unhealthy In-Ear mix.  
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Finally, it's important to realize that your instrument or your voice won't always sound exactly the way you want it to through IEMs.  Realize that your comfort and personal preference are secondary to the overall mix and be confident in your sound and your playing.  Lastly, speak with the sound engineer only if you think something is really wrong with your system.  

I hope this was helpful for you today!  Feel free to add comments, ask questions, or share from your own experience.  Thanks for reading.  

Know Your Role: Musical Development Pt.2

Last week I wrote about some elements that are important in creating musical development.   Development is the means in which we cultivate interest and emote responsiveness from those listening.  

Today, I'd like to discuss the importance of knowing and understanding one's musical role in a worship team.   Each musician's role may vary depending on the instrument they play, the arrangement of the song, and the other instruments present.  Musical development can only occur when everyone in a team plays their role. 

For musicians to know and play their role well in a worship team, it takes both preparedness and humility.  
- Preparedness begins with the bandleader effectively communicating what’s expected for Sunday and then each musician taking ownership of their part in practice and preparation.  
- Humility is seeking to do what’s best for for the team and leading others in worship rather than playing to the fullest extent of one's skill or creative level. 

For the bandleader, it's important to be aware of which role each instrument is providing.  Today, I won't discuss all the instruments in a typical worship team, but instead focus on two of the most important.  I've also asked a couple of my musical peers to contribute their thoughts as well.

Drums 

Source: Wikipedia

Maintaining tempo is obviously the primary goal of the drummer/percussionist.  However, my friend and fantastic drummer Johnny Simmons has some great insight about why it's so important for drummers to keep time: 

       I like to say I'm in charge of where the words go. I have to define the time in such a way that 2000 singers can naturally feel where each syllable of the lyrics falls. Of course I do the same for the band with note placement, but my main concern is the singing.

This is a great reminder that as a band, rhythmic accuracy is necessary not only for instrumental unity, but also for ease of singing.
     

Secondly, drummers must establish and maintain the "groove" or rhythmic pattern in each song.  The groove will determine musical style and unify the rest of the rhythm section. 

Finally, drums are key in dynamic growth.  Johnny writes: 

I can provide a vehicle for the worshiper to invest emotion in his singing through dynamics, rhythmic complexity ("complex" does not NECESSARILY mean "busy") and the judicious use of fills.

Drums are the most obvious when it comes to growth in volume, but as Johnny states, it's important to be judicious and to shy away from being "busy" so as not to distract from what's being sung.    

Keys

Source: Wikipedia

For most styles of worship music, keys are critical for both accompaniment and lead parts.

My friend Ben Sieben is a highly skilled keyboardist who studied piano on a graduate and post-graduate level.  I get to play with him every Sunday and he does a great job in filling his role as a keyboardist/pianist within a band setting.   Ben writes: 

As a keyboardist in the supportive role, I see value in blending, often to the point where my instrument is hardly noticeable, but is still contributing to the sound of the band. Also in that supportive role, it's my responsibility to be aware of what's happening around me.

In order to blend, I would advise keyboardists to stick to simple accompaniment patterns and to be discriminating when selecting which sounds to use.   Often times, worship songs in pop/rock genres feature organ or synth parts that may feel simplistic to skilled musician, yet they are critical in creating an appropriate texture for a song.  As keyboardist, do not to underestimate the role of these simplistic parts as they often act as a "glue" that brings the instrumental texture together. 

Many proficient keyboardists have studied classical piano and have the ability to cover bass, harmony, and melodic parts simultaneously.  However, when functioning as part of a large ensemble, it's important to stay away from playing parts already covered by other instruments.  Sticking to one part may feel very restrictive if one is used to being a self-sufficient accompanist (it's easy to add a lower bass line or double the melody).   However, when anyone steps out of their musical role, they are inhibiting someone else from fully embracing theirs and are not contributing to musical development. 

In addition to accompanying, keyboardists are often required to play a "lead" or signature part of a song.  It's very common for songs to feature a recognizable melody or arpeggiated piano pattern.  In regards to playing lead, Ben writes: 

When a song calls for the keyboard (usually piano, in this case) to take a more primary role, "what I actually play" becomes much more important. If it's an introduction to a song, worship leaders need me to be specific with my melodies, and sometimes even chord voicings, in order for them to feel comfortable.

Ben makes a great point - even while taking on a lead roll, it's still an instrumentalist's job to support what's being sung.  

My final word advice to keyboardists would be, lead from a place of simplicity and tastefulness.  Be intentional in your playing and the sounds you choose.  Lastly, be willing and able to switch from being "the glue" that holds the texture together to the instrumental leader.  

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Once again, for any team member to fill their role both preparedness and humility is required.  Each of these comes from decisions that we all make on a daily basis and each requires a certain level of self-discipline.  No matter which role you play, take ownership of your part and hold yourself accountable for it.  Humble yourself and know that He is the one who gifted you with talent and it's by His grace that we freely enter into worship.    

Next time I'll discuss the other instruments in a typical band and singers setup, so be looking for that! 

Once again, thanks for reading and I hope this is beneficial to you.  Feel free to comment or send me a message thesamjones (at) gmail (dot) com.