opposite situation . Trying to run a soundcheck with an audio engineer unacquainted and inept with the system ’ s operation is like pushing a big pile of bricks up a hill . If your audio operator could use some training , let ’ s make that happen as a high priority .
Configuring the mixing console , patching leads , running power , plugging in equipment , EQing the FOH and monitor systems , and any other “ set up ” tasks are not - or at least should not - be part of the soundcheck . These will need to be taken care of before the soundcheck can start .
It ’ s essential that all the singers and instrumentalists that make up the band have a good understanding of their own - and the band ’ s - monitoring system . Are you using open speaker wedges , in-ear monitors ( IEMs ), or some combination of both ? Are monitor mix adjustments being made by the FOH audio engineer , or by a second monitor engineer ? At the mixing console in the tech booth or at a wirelessly connected tablet here on the platform ? Or by each individual using a personal digital mixing console , or an app on a phone or tablet ? Are any team members sharing a single mix , or does each individual have their own ?
It can be complicated , but we all need to have a handle on this . Especially in the situation where singers and instrumentalists are mixing their own monitors , they need to know what sort of mix constitutes an inspiring monitor mix and how to get it , using the technology available to them .
But what makes a good monitor mix ? Does the team know what sort of monitor sound they should be listening to as they sing and play ? Please don ’ t leave your team members floundering in this area . Guidance is essential . It saddens me when I discover church musicians who have been swimming in their own sonic soup monitor nightmare with no idea of how to get out , and perhaps no concept that their sound could be any different . To dig more deeply into that topic could be another whole article on its own ( or perhaps a book ) but for now I ’ ll just make a couple of very general points .
WHAT MAKES A GOOD MONITOR MIX ? Let ’ s agree that when it comes to an individual ’ s monitor mix …
“ You don ’ t need to hear just yourself . You need to just hear yourself .”
Yes , you ’ ll need to be able to hear your own voice or instrument , but we should also be at least aware of all the other sounds being made from our ensemble too . The temptation for us all is to have a “ more me ” monitor mix . Too much of ourselves and not enough of others ! It ’ s a symptom of the human condition . But this can result in many negative outcomes . With this “ more me ” mix , we tend to focus too much on ourselves and not enough on the overall sound , the song , the congregation , and our desire to connect more deeply with God .
Let ’ s make sure the whole team clearly understands that we want to have monitor levels as low as possible - especially any open speaker monitors ! Loud can feel great in some contexts , but in most church music situations , the stage volume levels must be kept down . Our hearing must be preserved . The ability of the audio engineer to control the FOH mix must not be negatively impacted by the sounds coming from the stage .
We each make a small contribution to a way bigger picture . To help the “ whole ” be greater than the sum of the parts , we must be aware of and leave space for one another .
If you ’ re struggling to hear something - your own voice or instrument for example - before you turn it up in your monitor , listen - really listen - and try to work out why you can ’ t hear it . What other sounds are encroaching on the sonic space ? Try having other sounds turned down so that you are able to hear everything better before turning your own sound up .
Especially with user-mixed IEMs , the temptation can be to minimize or even mute certain sounds . “ I don ’ t like her voice !” ( mute ). “ I don ’ t need to hear the acoustic guitar ” ( mute ). I actually heard a pro drummer at a conference teaching on this topic . He said that his IEM mix was just the click , the backing tracks , some of the leader ’ s voice and acoustic guitar and his own drums . He could not hear - and did not want to hear - any other voice of instrument as he played . To me , this is a very WRONG approach to monitor mixing but , unfortunately , a very common one . We ’ re a band , not a bunch of soloists . Overplaying and a lack of musical cohesion and connection is bound to result .
And while we ’ re on the topic of IEMs , may I strongly suggest that achieving a workable - let alone inspiring - monitor mix through mono IEMs is ( in my opinion ) downright impossible - especially for vocalists . Mono IEMs will have exactly the same sound coming from the left and right ear pieces . The wearer of mono IEMs will hear one , centrally located sound . Trying to sing with the whole band ’ s sound as one ball of coagulated sonic soup in the middle of your head is a horrible thing . God gave us two ears for a reason ! If the budget can stretch this far , go with stereo IEMs - especially for vocalists - and make sure we all understand how to use the pan function to create some separation and space between the different sonic elements of our sound .
This ends Part 1 of SONIC SOUP - THE ALL- IMPORTANT SOUNDCHECK . Thanks for reading this far but I was actually just getting started ! I hope this Part 1 info helps make your future soundchecks even better , but I am even more excited to share the info in Part 2 ! My next article will describe my tried-and-true soundcheck system step by step . Make sure you check that out next !
Grant Norsworthy founder of MoreThanMusicMentor . com providing training for worshipping musicians .
MoreThanMusicMentor . com