Jeffrey B. Scott photos courtesy Olivia Brown/Liv Louder Photos
[Jeffrey] I stay out of James’ way! (laughter)
being able to listen to everybody and make
We definitely have conversations. Usually sure that your part is complementary, both
[James] That’s the first thing I established; something like, “I don’t care what I play,” and to the whole, as well as to where the guitars
everyone must stay out of my way! (laughs) then Jeffrey says, “I don’t care what I play are sitting.
Seriously though, the most important part of either. You can play whatever you want.” And playing in a band, or with a group of musicians I say, “No, you can play whatever you want.” [WM] How do you guys approach panning the
that you hardly ever play with, is that you must But eventually we establish who is going to play instruments and vocals in your in-ear monitors?
think “part-driven”. As long as the two guitar what part. Normally, that takes care of the big players, and everyone else sounds good, I picture stuff.
[Jeffrey] I tend to pan myself to one side and
don’t care what I play.
the other guitar player to the other.
[Jeffrey] James and I have played together
The unspoken stuff is that you have to keep a couple of times here at church, and one of [James] Panning stuff is really the trick to a
your ears open for what the other person is the things that we’ve done is really be attentive great in-ear mix. I usually keep myself in the
doing. It’s easy to get very protective of your to the flow of the song. We’ll establish some middle, but I always put the other person on the
parts, but that’s not going to matter if you’re ideas, like on a certain song we will plan for one side that matches whatever side of the stage
just playing all over each other. If I look over of us to take the lead line, or vice versa. We they are on in relation to me. Many people
and Jeffrey had decided that he is going to do have that conversation to begin with. Then, it’s get frustrated with their mix, especially if it’s a
something different, I’ll just move around and just a matter of listening and making sure that church situation where they may not get a lot
do something else. That’s the best thing I can whatever you are feeling like you need to play of experience with it. People don’t realize that
say, as far as unspoken things, is that you just still makes sense with what the other person is when you pan things, it really opens up your
watch out for what the other guy is doing and playing, especially given that things may flow ears. Also, many people, when they can’t hear
try to make that sound good as you move in a direction you didn’t plan for, or even into well, start turning things up when they really
around accordingly. I don’t fall too in love with another song entirely. should be turning things down.
it’s Jeffrey, or someone else I’m playing with, In this age of in-ear monitoring, where you [WM] I noticed that neither of you have the
I just try to make sure that what I’m doing is could literally dial someone completely out of “obligatory” Strymon TimeLine or Big Sky on
complementing what they’re playing. your mix, there’s something really great about your pedalboards. James, the core pedals on
any part - it always changes anyway. Whether
May 2018
WorshipMusician.com
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