above could be in the pro column . The energy that is created on the stage and the sense of sonic cohesion that properly functioning wedges create is often a desirable effect . This is an important element here to keep in mind as the suggestion to switch over to IEMs is frequently met with this simple point as the major reason why wedges are better . But there are ways to bring about this sense of cohesion and excitement and energy with IEMs if the system is designed and managed correctly — it needn ’ t be a con for IEM usage . So perhaps it is the case that ‘ increased vibe and sonic cohesion ’ is a pro for wedges , and a possible con for IEM that seems to be the leading cause of musician resistance to the switch .
On the IEMs side pro list , there are a few key points to highlight :
• They are loud as you need them to be . The perceived volume of IEMs is much greater , but the actual volume can often come down . This helps to prevent hearing damage — a great pro ! The ‘ earplug ’ aspect of IEMs can work to cut down otherwise damaging loud sounds on the stage . Hear what you want to hear and little or nothing else
• They aren ’ t disruptive to front of house
• They have very low latency ( from earpiece to ear canal )
• They are an excellent point of reference — the ‘ earplug ’ effect gives a more ‘ pure ’ delivery of audio to the performers
GETTING THE IEM MIX RIGHT
How might we work to overcome the possible con for IEMs as it relates to the purported lack of vibe and the fear of sonic isolation ? First off , it is important to get a sense of what the musicians who are on wedges and fills experience on the stage . Go and stand in their position during a rehearsal . Stand where the bassist stands , kneel next to the drummer ’ s throne , and make a mental map of the sorts of things that seem readily present in their particular position . Then think about how you might go about closely recreating that sonic experience in in-ear monitors . Rather than working from a clone of FOH , work from a clone of their wedge and / or fill mix . Once you think you are close to an in-ear mix that aligns with the existing wedge and fill mix , toss on your own in-ears at the musician ’ s stage position and start to do A / B testing . If you can have musicians test out the IEM mix from a starting point that is very close to what they are already experiencing , you are much more likely to convince them to make the leap . According to Mike Bangs , “ If you can get this matched up as a starting point and then just pound them with their voice or instrument over the top of that mix , most musicians and vocalists would be overjoyed .”
CAKE AND EAT IT , TOO ?
One other option is to transition slowly from
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