|
|
Post by cassie on May 23, 2012 8:48:07 GMT -5
They're ear monitors. Adam hears in them a specialized sound feed that he requests from the sound board. Which is why its so important that whoever is sitting at that board actually provides the mix he needs. I'm guessing its a combination of his own voice, muted instrumentals, with only a touch of crowd noise allowed in the background. Otherwise, since they also act as ear plugs to protect his hearing (I think the professional ones can reduce up to 40 db), he would probably hear only his own breathing and bone-conducted singing. Its why monitors are so tricky to use. A singer is completely dependent on the sound board to "tell" them what they, and everyone around them, sound like. But its the only way to protect from the hearing loss rampant in the previous generation of Rock-n- Rollers, and it also alleviates feedback and other issues associated with floor monitors (which is the other way a band can hear themselves over the roar of a crowd).
Thanks I understand it a little better. I guess I'm having a problem why it's hard to get the mix right. I'm guessing that the sound guy gets lists from the performers requesting their mixes. Is the disconnect when the bands hook their equipment up to the venue's system? All equipment and systems being different, now I'm guessing that a sound check is all about the ear monitors and not the venue speakers. So, since "sound" seems to be a problem everywhere, it must not be totally the "sound guy".Hoppers explained the in-ear monitors well. They are actually molded to the individual's ear, custom made. With the sound levels in the venues and the power of the amplifiers cranking out the instruments, it can be a problem to hear one's own voice, and monitor it for pitch. When Adam is significantly off pitch, you know his in-ear monitors are not working correctly. They can short out, produce feedback or static, or be out of balance. I think that recently, Adam has not only had the in-ear monitors, but also back up speakers facing the stage. The sound guy has a very complex job. Not only does he have to balance the sound in each individual's monitors, but he/she is responsible for how the band sounds to the audience. Each venue has different acoustics, and needs to be calibrated differently. When he gets the right balance of instruments and several different voices in an empty hall, he can only guess how the acoustics will change with the hall filled with people. And the hall filled with screaming people. So, he is constantly tweaking. Also, Adam, and many singers, require special effects like echo or reverb on his mic. This varies between songs and sometimes within songs. Adam may want the vocal to be richer and fuller for a ballad like Soaked, and more piercing for a dance number. He may say "brighter" or "more ping" or "darker" or "pump up the lows." Tough job, especially for someone as exacting as Adam. Mess with his voice, his performance, and you are messing with his identity and trademark. Beware! |
|
Deleted
Posts: 0
Location:
|
Post by Deleted on May 23, 2012 11:22:30 GMT -5
Thanks I understand it a little better. I guess I'm having a problem why it's hard to get the mix right. I'm guessing that the sound guy gets lists from the performers requesting their mixes. Is the disconnect when the bands hook their equipment up to the venue's system? All equipment and systems being different, now I'm guessing that a sound check is all about the ear monitors and not the venue speakers. So, since "sound" seems to be a problem everywhere, it must not be totally the "sound guy".Hoppers explained the in-ear monitors well. They are actually molded to the individual's ear, custom made. With the sound levels in the venues and the power of the amplifiers cranking out the instruments, it can be a problem to hear one's own voice, and monitor it for pitch. When Adam is significantly off pitch, you know his in-ear monitors are not working correctly. They can short out, produce feedback or static, or be out of balance. I think that recently, Adam has not only had the in-ear monitors, but also back up speakers facing the stage. The sound guy has a very complex job. Not only does he have to balance the sound in each individual's monitors, but he/she is responsible for how the band sounds to the audience. Each venue has different acoustics, and needs to be calibrated differently. When he gets the right balance of instruments and several different voices in an empty hall, he can only guess how the acoustics will change with the hall filled with people. And the hall filled with screaming people. So, he is constantly tweaking. Also, Adam, and many singers, require special effects like echo or reverb on his mic. This varies between songs and sometimes within songs. Adam may want the vocal to be richer and fuller for a ballad like Soaked, and more piercing for a dance number. He may say "brighter" or "more ping" or "darker" or "pump up the lows." Tough job, especially for someone as exacting as Adam. Mess with his voice, his performance, and you are messing with his identity and trademark. Beware!
Thanks so much for the details. It makes me wonder if it's even possible to "get it right". |
|
happy
Member
Posts: 3,433
Location:
|
Post by happy on May 23, 2012 11:30:22 GMT -5
I know it's the next day but I just had to add to this happy thread. I am beyond happy! I am ECSTATIC!!!
And my 24-year-old son finally agreed to listen to the album and he likes it! YAY!!!
|
|
Holst
Member
Posts: 4,786
Location:
|
Post by Holst on May 23, 2012 14:35:08 GMT -5
Hoppers explained the in-ear monitors well. They are actually molded to the individual's ear, custom made. With the sound levels in the venues and the power of the amplifiers cranking out the instruments, it can be a problem to hear one's own voice, and monitor it for pitch. When Adam is significantly off pitch, you know his in-ear monitors are not working correctly. They can short out, produce feedback or static, or be out of balance. I think that recently, Adam has not only had the in-ear monitors, but also back up speakers facing the stage. The sound guy has a very complex job. Not only does he have to balance the sound in each individual's monitors, but he/she is responsible for how the band sounds to the audience. Each venue has different acoustics, and needs to be calibrated differently. When he gets the right balance of instruments and several different voices in an empty hall, he can only guess how the acoustics will change with the hall filled with people. And the hall filled with screaming people. So, he is constantly tweaking. Also, Adam, and many singers, require special effects like echo or reverb on his mic. This varies between songs and sometimes within songs. Adam may want the vocal to be richer and fuller for a ballad like Soaked, and more piercing for a dance number. He may say "brighter" or "more ping" or "darker" or "pump up the lows." Tough job, especially for someone as exacting as Adam. Mess with his voice, his performance, and you are messing with his identity and trademark. Beware!
Thanks so much for the details. It makes me wonder if it's even possible to "get it right". You're right. It is a tough job. Especially since people can agree on what sounds good--can be very subjective. I've played in pit orchestras where lots of mics are used for instruments and singers. Someone always is complaining. Sound people have to put up with a lot of annoyance comments. |
|
