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August 2010

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On-stage monitor mixers such as those provided by Aviom (left) and Hear Technologies (right) give musicians control over their own monitor mix.  

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The AKG IVM4 is one example of the numerous wireless personal monitor systems available.  

So you’ve got a great worship band and a decent sound system, yet still find yourself fighting feedback and struggling for volume control and fidelity. You’ve heard that personal monitors can solve these problems. And there is truth in that assertion. But, as with many technology-based solutions, the key lies in proper implementation. This is not a plug-and-play situation. It takes knowledge, practice, and commitment to make it work—especially with a volunteer staff. The good news is that it’s totally manageable, and the benefits can be startling.

For the purposes of this article, we’ll assume a typical contemporary worship scenario. This involves an electrified band with acoustic drums, multiple vocalists, and of course, the worship leader. In most churches, there’s a single mix position, with a volunteer engineer responsible for both the front of house and stage monitor mixes.

ISSUES AND CHALLENGES
Architecturally, most worship venues are designed with high, vaulted ceilings and lots of reflective surfaces. This creates a rich, reverberant sound, perfect for choirs and acoustic music. But all that sound bouncing around creates two problems: reduced intelligibility and high feedback potential.

Traditional stage monitors, called floor wedges, only add to the problem. While a monitor system is definitely needed to help musicians hear each other and play in time, they are the single greatest source of acoustic feedback on the worship stage. In addition, monitor wedges compete with the audience (front of house) sound system, forcing the engineer to perform a balancing act between giving the musicians enough level and keeping the house mix both clearly intelligible and at a reasonable volume. The tendency is for overall volume to increase, often to the levels heard at a typical rock concert.

To hear the difference for yourself, attend a full band rehearsal, with both the main house speakers and the stage monitors running at their usual levels. Sit in the audience and get a feel for the sound from a worshipper’s perspective. How loud is it? How understandable are the lyrics? Then, in the middle of a song, have the sound engineer turn off the monitor system while the band keeps playing. The difference should be quite dramatic, both in terms of volume and sound quality.

This demonstrates one of the main bene- fits of personal monitors. By inserting the monitor mix directly into the performers’ ears, stage wedges are eliminated. In addition to better sound quality for the congregation, the risk of feedback is considerably reduced and the stage gains a cleaner appearance. There are definite advantages for the performers as well. By “wearing” their monitors, each musician is always in the sweet spot. Vocalists no longer need to compete with the wedges in order to hear themselves, resulting in better pitch control and less vocal strain. Furthermore, if used properly, in-ear systems can reduce the risk of hearing damage. Lastly, striking the stage becomes a noticeably simpler task.

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Jack Kontney heads Kontney Communications Inc., a marketing and content creation consultancy specializing in pro audio and electronics. He can be contacted at www.kontneycomm.com.

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