Pro Sound Web: Often times, it’s only through the critique of others that we are able to see the deficiencies in our systems, which is why I’m often called to visit clients services “in action.” In the hopes that you may find some of follows below is an excerpt from the recommendations I made to a church client following a visit to their Sunday morning service.
5 comments:
Now if we could just fix he lighting in the synagogues we'd have it all!
Two words. Avi-om - personal monitoring systems
(www.aviom.com)
There is a bit of cost here but it is totally worth it. I have played bass as well as run FOH in many worship bands and let me testify. Churches with Aviom are so much a nicer to work in, no matter which side of the desk you are on. As the bassist I get exactly what I put in my headphones because I am the one doing it. At FOH my stage volume consists of JUST the vocal monitor which is negligible because they are not fighting anything but the vocalists themselves. Even the lead guitar, who has is amp on stage will still be mixed through the Aviom, Then he can keep his amp at a low volume. Not only does it save the stage volume fight it saves probably an hour a week in rehearsal. We use different volunteers every week as musicians and they all tune their own headphone monitor in ½ a verse of the first song. Monitor mix done! This will set you back about 5 grand for a set of 4 but is money very well spent for any moderately large house of worhip.
I guess this article leads to a tangent.. but this is also one of a few articles that highlights the use of theatrical technical equipment in churches. The idea that churches are using theatrical techniques to draw a crowd is cool. Some people criticize the use of the lighting, smoke, and guitars in church - but ultimately if they are accomplishing their goals by using them, yahoo! Communicating the churches message through commercial, modern, and entertaining ways is the exact same thing as producing a play to comment on social issue in a particular light. PLUS it creates more job opportunities for us.
I couldn't imagine not having a structured system for setting monitor levels, at least in the small concert gigs I have run FOH for. Communication and patience play such a big role in getting everything to run smoothly. However, Dale's suggestion solves many of the issues brought forth in the article. I have not ever mixed while running an Aviom monitor system, but I have seen it set up on stage before and I don't think it gets any better than that when it comes to making musicians happy with their personal mixes.
While this article does focus specifically on a house of worship application, it also can be applicable to almost any small to medium scale situation involving the monitor mixes of a live band. The process presented for setting monitor mixes is a good one, but it definitely is not the only way to do it. Having a system that works for the band and the engineer is what is important. I think the most important point that the article brings up is the need to talk with the musicians about what they would like in their mix before the sound check, so it's possible to get a rough mix dialed in. I have used an Aviom system before, and I have to agree that it does make monitoring a breeze, if all musicians are on IEMs. I definitely would not use an Aviom system with floor wedges, as that is just asking for trouble with feedback and ridiculous stage volume.
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