wedges and fills by introducing IEMs into the mix — run both . If you are going to go this route , it is usually best to treat the wedges and fills more like a low-frequency ‘ energy ’ machine and route a good chunk of the mids and highs to the IEMs only . Anything above about 500Hz doesn ’ t need to be in the wedge . This approach removes a few of the wedges and fills cons from the equation as feedback and recycling are dramatically reduced . One other option here is to add subs or transducer / shaker / thumper drum thrones or haptic bass platforms to IEMs so that the very low-frequency energy is still felt by the musicians while the rest of the frequency spectrum is covered in their in-ears . Basically , if the sort of ‘ vibe ’ or energy that musicians fear they will be missing with IEMs is really the low-frequency thump , use dedicated devices or a purpose-built wedge mix to make up the difference — ( subtly ) shake the stage .
STEREO AMBIENCE
Another quick note on how to ensure that IEM mixes are presenting a sense of vibe and presence within the sonic stage — always opt for stereo in-ear mixes . Being able to mirror how the instruments are placed on the stage ( the bassist slightly to the vocalist ’ s left , the guitarist on her right , etc .) will go a long way to alleviating
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