Podcasts about in ear monitors

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/darksideSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeGuitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio's latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.Taking the record on tour this year, Darkside stopped in at Nashville's Brooklyn Bowl, where Harrington broke down his complex signal chains for PG's Chris Kies.Shop Dave Harrington's Gear:Gibson SG - https://sweetwater.sjv.io/GKOP7LFender Twin Reverb - https://sweetwater.sjv.io/GKOP7LFender Hot Rod DeVille - https://sweetwater.sjv.io/xkNdxdElectro-Harmonix Pitch Fork - https://sweetwater.sjv.io/EKxEPQXotic EP Booster Mini Boost Pedal - https://sweetwater.sjv.io/0ZLNRPLine 6 DL4 MkII Delay Modeler Pedal - https://sweetwater.sjv.io/mOo3OeWalrus Audio Monument Harmonic Tap Tremolo Pedal V2 - https://sweetwater.sjv.io/qzO3z5Eventide PitchFactor Harmonizer Pedal - https://sweetwater.sjv.io/551QkjD'Addario NYXL .010-.046s - https://sweetwater.sjv.io/B0Yy2WFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/darksideSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPGDon't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - D'Addario XPND Pedalboard0:15 - Dave Harrington Playing Intro2:23 - Chris Kies Intro2:47 - 2000s Gibson SG5:07 - Started Playing Bass & How That Impacts His Guitar Playing6:44 - Strings & Tunings7:23 - Fender Twin Reverbs & Fender Hot Rod DeVille Amps9:04 - Evolution of Gear Choices & Abundance10:41 - New Pedals for Nothing Album13:03 - Evolution of Darkside's Creativity14:20 - Gibson SG Mod with Expression Pedal for DL417:37 - Making a Loop & Manipulating Sound21:15 - XPND Pedal Power Battery Kit21:31 - Structured Set vs Organic Improv24:07 - EHX 45000 & Pitch Fork and ZVEX Mastotron25:42 - Friendship with Nels Cline27:37 - EHX 45000 & Hologram Electronics Microcosm30:54 - Boss RT-20 Rotary Ensemble32:29 - In-Ear Monitors vs Wedges33:45 - Walrus Monument Tremolo34:50 - Eventide PitchFactor36:13 - Mu-Tron Micro-Tron IV37:22 - Chase Bliss Habit39:23 - Auditioning New Pedals41:08 - Amped Innovations JJJ Special “Harmonics Extender” Preamp Pedal42:31 - Chase Bliss Brothers43:03 - JHS Notaklon43:47 - HexeFX reVOLVERs46:36 - Does Dave Harrington Play Acoustic Guitar?46:52 - Approaching Pedals Like an Instrument49:05 - D'Addario Strings[Brought to you by D'Addario XPND: https://ddari.io/xpnd.rr & D'Addario - https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #guitarist #guitarplayer #guitargear #darkside

If someone gave you $500 to upgrade your podcast setup, what would you spend it on? Today, we swap ideas on the gear we believe improves our podcasting workflows, and some of our picks might surprise you. We share our favorite lighting, mobile power stations, cable organizers, and even standing desks. Join us as we cover the tools that help us stay creative, consistent, and comfortable behind the mic in just about any environment.Episode Highlights: [03:36] Diving into Podcasting Gear[06:37] Icebreaker Question: If you had $500 to spend on your podcast, what would you buy?[24:44] Essential Podcasting and Non-Podcasting Items[31:02] Outdoor Podcasting Setup[33:38] In-Ear Monitors and Communication Tools[40:34] Lighting for Video Content[44:12] Computer Hardware for Podcasting[50:08] Standing Desks[51:44] Lighting Tips and Q&ALinks & Resources: The Podcasting Morning Chat: www.podpage.com/pmcJoin The Empowered Podcasting Facebook Group:www.facebook.com/groups/empoweredpodcasting⁠Cable Management Sleeves: https://amzn.to/3TmCLT7April Poetry Challenge With Kate Volman: https://www.youtube.com/watch?app=desktop&utm_source=clubhouse&v=yWDGI8fw32gCinematic Lighting Setup for YouTube Videos:https://www.youtube.com/watch?v=lpEeYwrkBPUBluetti AC2A Portable Power Station: https://bit.ly/423Jd5BRodecaster Pro II: https://amzn.to/41h9yuNRiverside: https://www.riverside.fm/?via=0676daLED Lighting: https://amzn.to/46Y95yGAcoustic Panels: https://amzn.to/4afsfTHRemember to rate, follow, share, and review our podcast. Your support helps us grow and bring valuable content to our community.Join us LIVE every weekday morning at 7am ET (US) on ⁠Clubhouse⁠: ⁠⁠ https://www.clubhouse.com/house/empowered-podcasting-e6nlrk0w⁠Brought to you by⁠ ⁠iRonickMedia.com⁠⁠ and ⁠⁠NextGenPodcaster.com⁠⁠Please note that some links may be affiliate links, which support the hosts of the PMC. Thank you!--- Send in your mailbag question at:⁠ https://www.podpage.com/pmc/contact/⁠ or ⁠marc@ironickmedia.com⁠Want to be a guest on The Podcasting Morning Chat? Send me a message on PodMatch, here: ⁠https://www.podmatch.com/hostdetailpreview/1729879899384520035bad21b⁠

Wir sprechen in dieser Episode über In Ear Monitors, Brummen und unsere Audiosetups. Danach berichtet hukl von HTTP/3, Letty von mathematischen Kacheln und zum Abschluss sprechen wir über Job Interviews in Zeiten von ChatGPT und schließen mit ein bisschen Matrix ab

Andy Hurley Drum Rundown: https://www.youtube.com/watch?v=XLCiHZl7C4oFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/fall-out-boy-2024Back in March, Chicago's Fall Out Boy blasted through Birmingham, Alabama, in the middle of a year-long tour supporting their 2023 release, So Much (for) Stardust. It was their first solo headline tour since 2018, and they brought along loads of new noisemakers for the occasion. Frontman Patrick Stump has moved on from his trademark Gretsch electrics, guitarist Joe Trohman scored an Explorer that may or may not remind us of a certain purple McDonald's character, and Pete Wentz packs some basses that bring both ice and fire to the gig. And while tube amps still reign supreme in the studio, including the recording of So Much (for) Stardust, the band goes digital and speaker-free on the road.Shop Fall Out Boy's Gear:DiMarzio Super Distortion Humbucker - https://sweetwater.sjv.io/5g6D03Seymour Duncan Little '59 (neck) - https://sweetwater.sjv.io/k0e123Seymour Duncan Dimebucker (bridge) - https://sweetwater.sjv.io/eK95ZXSterling by Music Man Pete Wentz StingRay - https://sweetwater.sjv.io/anq9GoNeural DSP Quad Cortex - https://sweetwater.sjv.io/5gmox9Radial JX44 - https://sweetwater.sjv.io/anmJnQLine 6 HX Stomp - https://sweetwater.sjv.io/3e3z7n Andy Hurley Drum Rundown: https://www.youtube.com/watch?v=XLCiHZl7C4oFull Rig Info: https://www.premierguitar.com/videos/rig-rundown/fall-out-boy-2024Subscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPG Don't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar[Brought to you by D'Addario: https://ddar.io/wykyk-rr]0:00 - D'Addario Strings0:15 - Chris Kies Intro1:30 - Patrick Stump Intro1:57 - Patrick Stump's Vintage Guild S-60D Guitars9:08 - Patrick Stump on Moving to Neural DSP Quad Cortex11:19 - Patrick Stump on TV Scoring vs Fall Out Boy13:10 - Patrick Stump on Quiet Stages19:44 - Patrick Stump's Halo Guitar21:48 - Patrick Stump's Martin X Series acoustic24:13 - D'Addario & Rig Rundown Team24:37 - Joe Trohman's Zemaitis The Portrait Hisashi Signature27:20 - Joe Trohman on Switching to Digital Modelers30:02 - Joe Trohman on In-Ear Monitors & No Speakers31:16 - Joe Trohman on Playing Surprise Song Each Night35:52 - Joe Trohman's '80s Gibson Custom Shop Explorer40:33 - Joe Trohman's Squier Telecaster Signature43:10 - Pete Wentz's Sterling By Music Man StingRay Basses46:40 - Pete Wentz's Flamethrower StingRay Bass49:48 - Pete Wentz's Line 6 HX Stomps51:26 - Yvette Young & D'Addario Strings© Copyright Gearhead Communications LLC, 2024#guitar #rigrundown #falloutboy #guitarist #guitarplayer #guitargear

This week's Gig Gab is a must-listen as journeyman drummer Tris Imboden joins Dave Hamilton, bringing a wealth of musical history and wisdom. Dive into Tris's fascinating career, from growing up in the musically rich Orange County, to the unforgettable moment he saw The Beatles live, despite barely hearing them […] The post Tris Imboden Talks Rock ‘n' Roll, In-Ear Monitors, Kenny Loggins, and More — Gig Gab 438 appeared first on Gig Gab.

Episode 105: A Guitarist's Guide to In-Ear Monitors (with ‪64 Audio‬) Welcome to the Chairmen of the Boards Podcast! The ultimate pedalboard podcast with the foremost rig builders in the world: Grant Klassen (Goodwood Audio), Brian Omilion (Omilion Audio), and Mason Marangella (Vertex Effects/The Rig Doctor). We've teamed up to democratize great tone and provide you with our best tricks, tips, resources and hacks so you can build the pedalboard of your dreams! //SPONSORS// The Guitar Sanctuary - https://theguitarsanctuary.com Neural DSP - https://neuraldsp.com (use discount code "chairmen" for 30% off) Mono - https://monocreators.com (use discount code "chairmen" for 10% off) Best-Tronics - https://btpa.com (use code "dachairs" for 10% off) //HOSTS// Grant Klassen (Goodwood Audio) YT - ‪@GoodwoodAudio‬ IG - https://instagram.com/goodwoodaudio Brian Omilion (Omilion Audio) YT - ‪@omilionaudio‬ IG - https://instagram.com/omilionaudio Mason Marangella (Vertex Effects) YT - ‪@VertexEffectsInc‬ IG - https://instagram.com/vertexeffects //YOUTUBE// Watch COTB Podcast live: https://bit.ly/3VhbNea

Garza sits down in-person with Australian band MAKE THEM SUFFER. https://bfan.link/epitaph SPONSORS: https://imp.i114863.net/rnrmVB Purchase from Sweetwater MAKE THEM SUFFER is: Sean Harmanis - Vocals Nick McLernon - Guitar Jaya Jeffery - Bass Jordan Mather - Drums Alex Reade - Keyboards & Vocals CHAPTERS: 00:00 Sleeping on Tour, Bedbugs 04:38 Australian Spiders 07:04 Tour Nightmares & Anxiety 10:30 Australian Insults & American Slang 14:15 Garza Getting Confused for a Woman 16:44 “Epitaph” 18:22 In-Ear Monitors vs Wedges 19:44 Journey From Local Band in Perth, Australia to the World Stage, Regaining Confidence 26:45 Being Locked Down 31:49 Producing Their Own Music After Drew Fulk 36:00 Changing Guitar Tuning Inspired Nick to Write Again 40:08 Nick Playing w/ Crutches, Back Injury 42:10 Getting Food Poisoning, Be Nice to Your Waiter 49:12 Long Hair Sucks 51:10 What Does a “Helmet” Mean?, Aussie Slang 54:40 Being Overly Critical of Self 57:14 Getting Over Doubts & Pressure About Career, Alex Joining the Band, Getting Revitalized 1:04:47 Jaya Vomiting in the Sink, Cutting Back on Drinking, Getting More Focused 1:12:55 Persevering Through Eras, Starting a New Chapter, On Tour Now!

Get ready to unpack the mysteries around custom IEMs. This episode tackles so many major questions and busts common myths about custom in-ear monitors. Join our insightful conversation with IEM expert, Vlad Belonozhko, where we demystify everything from what affects sound quality to the unique benefits of custom fits. We dive into the differences between custom and standard IEMs, what's the optimal number of drivers, how to increase the lifespan of your in-ears, and overall, what's the best technology today. Discover maintenance tips and industry secrets that will ensure you get the most out of your custom IEMs. We're confident this conversation will resource you with everything you need to know about custom in-ear monitors. Worship Online is your new secret weapon for preparing each week. With detailed song tutorials and resources, you and your team will save hours every single week, and remove the stress from preparing for a set. Try a free trial at WorshipOnline.com and see the transformation!" Mentioned in the Episode Bellos Audio's In-Ear Monitors  ---  If you like what you hear, please leave us a review! Also, feel free to shoot us an e-mail at podcast@worshiponline.com & tell us how we can better serve you and your church through this podcast.  Don't forget to sign up for your FREE 2-week subscription to Worship Online at worshiponline.com/podcast!  The Worship Online Podcast is produced by Worship Online in Nashville, TN.  Hosted & Produced by Josh Kluge  Backing Tracks by Johnluke Lewis 

The Jeremy White Show welcomes Canadian music icon Lawrence Gowan from STYX! We talk about how important radio was to his career back in the 80's vs social media and being an artist today. How he never really broke out of Canada by being "sandboxed" by his record label and being labeled "Cancon", STYX Las Vegas Residency, In Ear Monitors, Retirement and BECAUSE IT'S HALLOWEN, we talk The Exorcist!!! Legendary and multi-Platinum rockers Styx will be taking the Las Vegas stage once again for an unforgettable five-night engagement at The Venetian Theatre inside The Venetian® Resort Las Vegas. The shows will be held on January 26, 27 and 31 and February 2 and 3, 2024. All shows are scheduled to begin at 8:30 p.m. Tickets start at $45, plus applicable fees, and will go on sale to the general public Friday, Oct. 6, at 10 a.m. PT. Tickets will be available for purchase at Ticketmaster.com, VenetianLasVegas.com, any box office at The Venetian Resort, or by calling 702.414.9000 or 866.641.7469.

In-Ear Monitors are a great way to reduce additional sounds on your stage while providing personalized monitor mixes for the worship band. However, do you know how and why to use them? In this episode, featuring Greg Shields, Director of Media and Artist Relations for InEarz Audio, we'll go over a breakdown of required equipment as well as the important functions of each unit in the signal chain: earpiece, wireless transmitter/receiver, RF Antenna, splitter snake, network switch, and the digital/analog mixer.Takeaways include:– IEM vs. Floor Monitors– Universal vs. Custom molds– Creating individual mixes– Choosing the right earpiece– Safe operationwww.worshipfacility.comwww.churchfacilitiesexpo.comhttps://www.facebook.com/Worship-Facility-110355098336978https://twitter.com/worshipfacilityhttps://www.linkedin.com/in/worship-facility-13ab9b239/

Today we're talking with Greg Shields. He is the Lead Singer of the band Kashed Out - their Butter the World Tour is making its way across the country right now to sold out crowds. Greg is a singer, songwriter and a performer using InEarz Audio Monitors. We're talking with Greg about the basics of In Ear Monitors, why you should use them in worship, the best models to use, and more. SHOW NOTES --- Support this podcast: https://podcasters.spotify.com/pod/show/makingsundayhappen/support

Guests Gaz Williams - Producer, bassplayer, music technologist Youtube video version: https://youtube.com/live/1FFpThrVv6M For preshow and Ad free version and much more: Patreon.com/sonicstate The Future of Mastering is Ozone 10 - Master Assistant - match your mix to a reference file, Stabilizer - clarity with intelligent adaptive mastering EQ, Impact Module - micro dynamics adjustments to enhance the rhythmic content   Head over to iZotope.com  now to get a 7-day free trial and save with the code SONIC10   Babyaudio.com  - save 15% on any purchases of their range of creative effect plugins, designed to add color and depth to your mixes. When checking out, use the code ST15 00:00:15 SHOW START 00:10:52 EMOM Dates 00:12:31 Piastrone Reverb for Live 00:20:57 AD: Baby Audio - Save 15% With ST15 Code 00:21:52 Win a Headline Gig 00:29:00 Neuman Enter Audio I/F Market 00:37:19 AD: iZotope OZone 10 00:40:06 Logue CL1 Analog style MIDI controller 00:51:17 synkrotron asks via - youtube - @sonicstate QQ what are your In Ear Monitors and would you recommend? Where to Watch/Listen - We now stream the live show to Youtube Live,  Facebook Live as well as at  Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED 

Transcript included below…Today, we're going to depart a bit from a guitar focus to talking more about worship leading, as we consider the unexpected team player who is standing out in the congregation, ready to help us…along with several other helpful strategies for leading well from your guitar.In the many years I've had the privilege of serving in worship ministry, I've experienced a variety of worship team configurations, styles, and approaches.  Some have been quite simple and pared down, and others have been much more complex.In the simple scenarios, I've either led solo from my guitar, or perhaps with just a small ensemble consisting of myself, a keyboard player, and a cajon or djembe player.  Simple instrumentation like this can be elegant, and can still allow for the congregation to hear each other well.In the more complex scenarios, we've had as many as 10 musicians on the platform, including drums, percussion, bass, piano, keys, acoustic rhythm, electric rhythm, electric lead, and then other lead instruments like woodwinds, and then several vocalists.  In these scenarios, the very full sound washes over the congregation and envelops them.The technology used to support these teams has also varied, based on the needs of the team.With more people comes more equipment, whether more floor wedge monitors, hot spot monitors, or personal mixers rigged to In Ear Monitors.  Some musicians like to have a binder with charts on a music stand, and others like to use a digital tablet. If you want to get super techy, you can rig a tablet to a foot pedal so you can turn your digital pages with your foot. And if you're using In Ear Monitors, in addition to having the opportunity for a click to keep you on track with rhythm, you can set up the track to include verbal cues for verses, lyrics, or even indicators for which instruments do what.  But this can get into the technical weeds pretty quickly.There are all kinds of tools we can acquire to assist us with our process.The Common ThreadWhat has been most consistent, though, whether in simple or complex worship scenarios, is the fact that lyrics are usually projected behind the band for the congregation to follow along with. Whether there are two or 10 lines of text, and whether the aspect ratio is 4:3 or 16:9, a projectionist follows along and gives the congregation their visual reminders of what the lyrics are, by advancing the slides. I've worked with everything from PowerPoint to SongShow Plus, to MediaShout, to ProPresenter, to Proclaim.  Each has its upsides and downsides.The Confidence MonitorSometimes, we also have a monitor on the back wall, whether a flat screen TV monitor or a rear projection from a ceiling-mounted projector.  And this setup has become known as the “confidence monitor.”A confidence monitor is designed to promote confidence in the band, because it can reassure them that they are on track with whatever song they are leading. Of course, the band will likely be referencing their own charts, and some band members may not even look up at the confidence monitor, or even at the congregation.  If they aren't looking up, it may be because they're bashful or don't know where to look…or more likely, they don't know their music well enough to look away from it. I personally believe that when leading worship (whether as the leader or the band) it's super important to know the music really well, so that you don't have to be visually glued to the music stand or tablet, and so that you can be aware of everything that's going on around you, onstage and in the congregation.The Invisible Ball TossTo help cultivate mental awareness in a team setting, I've taught a game to worship teams I've worked with that I call “the invisible ball toss.” In this game, a group of 5 to 8 people forms a circle.  One person in the circle starts by tossing an invisible “ball” to someone by saying the recipient's name. That person then throws the “ball” to another person, saying that recipient's name, and the round concludes when the “ball” is tossed back to the person who started the sequence, as the starter's name is uttered with the toss of the “ball.”That process is repeated several times.Simple enough?  Perhaps. But then, the starter chooses a new category.  It could be a type of food, a color, a type of animal, or whatever comes to mind.  A new sequence begins as, say, the animals are named and the “ball” makes its way around the circle in a new route. Once the second round is moving well, the starter goes back and adds the name sequence to the mix in addition to the second round. So, we have two invisible “balls” making their way around the circle at the same time.  And if the group is still hungry for complexity and an even greater challenge, they can add a third layer, and after that, to have everyone in the circle try closing their eyes.  What does this game accomplish, besides amusement and laughter? Well, each person has to be thinking about where they will toss the ball, but they also have to be listening for the ball that's coming to them. And if two or three different balls will be coming their way at different times, or at the same time, they really need to be on their toes.Translate this to the worship leading experience where we need to know where our bandmates are in their contribution to the song (such as a specific guitar riff after the first chorus).Who's taking more of a leadership role?  Where is the sonic space?  How is the groove going?We also need to know how the congregation is responding. Case in point: if the congregation does not seem to know a song, I as the worship leader need to be tuned in enough to sense this, so I can “break formation” and take the congregation back to the beginning where I can actually teach them the song. My tech crews have known me well enough to follow me, and I “signal before I turn” to keep things smooth, as the projectionist adjusts to where I am taking the band and the congregation.But if I'm not aware that the congregation isn't singing, because I'm too caught up with my own tasks, I won't be able to serve them as well.I also try to remind myself that as the worship leader, or any band member, it's important to frequently look out at the congregation, because really, I am being entrusted with leading the congregation in song.Types of Confidence MonitorsLeveraging the confidence monitor can help make the worship time a smoother experience, especially for the band, and it can provide a few different options, based on what the monitor is capable of.The most basic option it can provide is the lyrics that everyone is singing. In other words, what the congregation sees up behind the band, is the very same set of lyrics the band sees in the back of the house, behind the congregation.The next level up from this is two sets of lyrics – first, the lyrics that are being sung, and then below them, often in yellow, the lyrics that are “on deck,” in other words, the lyrics that will be sung next.  This adds a layer of complexity, but can also help foster confidence.Yet another level exists, and it involves including additional cue words or even chords on the back wall, to remind the instrumentalists what is happening next. Words like “Chorus” or “Bridge”, or even chords over the words, can add detail…but they can also clutter the screen.One downside to the confidence monitor is that if it is up high behind the congregation, it can feel like the worship team is looking high above the people.  I've seen very cleverly concealed confidence monitors either at the foot of a stage with a small flat screen, or even in a repurposed floor wedge monitor that looks like an audio monitor, but is actually a confidence monitor. But again, the team may end up looking too far down at these if they have to rely too heavily on them.Where to Look?As we think about our worship repertoires, we may realize that some songs may contain text that is “about the Lord,” “to the Lord,” or “to each other” as we proclaim His goodness. Looking at people could still be permissible even if we are singing to the Lord – because the Lord is unseen.  Looking away from people, though, when we're singing to each other, could be confusing.Where we look is subject to interpretation, and some of us may choose to even close our eyes at times. But looking away from our music stand is something I recommend.Leading Worship Off-BookIn my most recent worship leading position, I self-imposed memorization.  In other words, I insisted on having all the songs that I led be memorized by me. And this really blessed me as well as my team, because I was able to achieve excellent visual communication with them that I wouldn't have been able to, had I been riveted to my stand. I also received appreciative remarks from the congregation from time to time, most of whom were not musicians, but who keyed into the relational aspect of being visually connected with me.When I began my time at this church, I started the process by challenging the worship team members to be memorized as well, but some got overwhelmed, so I opted to let them make their own choice, and most chose music stands that they could at least reference part of the time.I rehearsed during the week with the team memorized, but I had my music stand off to the side so I could reference it if needed, but then on Sunday morning, for the service – as well as the two run-thrus, I was completely memorized. And because our church was a portable one, meeting in a school…wait for it…I also did not have a confidence monitor.  Several churches I've served at have not had a confidence monitor, and having this weekly scenario without it made me stronger as a leader.I was still pretty confident though, because although I did not have charts in front of me as I led, nor a screen to cue me, I knew my music quite well.  I had worked hard to memorize the songs, and I kept a fairly concise repertoire, playing each song the same way every time. Once in a while, I might fade back and glance out of the corner of my eye at the screen behind me for the first word of a verse, but this wasn't sustainable, because I wanted to look out at the congregation as much as possible.I did this for almost 5 years. Meanwhile, I toured quite a bit, and served as a guest worship leader in a variety of settings at various churches.  Some did not have confidence monitors.  Some had them. And some, although they had a confidence monitor, occasionally forgot to turn it on – even after it had been on for the sound check and run-thru. I recall clearly the first of two services at one church where some switch didn't get toggled, and I was without rear-projection lyrics on the back wall for the opening song set.  Fortunately, I knew the songs really well and didn't need to have the confidence monitor.There are other times when the projectionist has been slower and has not advanced the slides in the cadence of my song flow.  This means I have to know the songs well, because the projectionist is not with me.Usually, they catch up to me, and we're fine…but I have to be ready for when they are not with me.There came a time, though, early on in this season, where I realized that there was an asset, an accomplice, a teammate out in the congregation who was a worthy substitute for a confidence monitor. Can you guess who that was, based on the title of this episode?The Confident CongregantNow, let me first explain what a confident congregant is not. It is not someone who simply stands there and does not sing.  I'd call this person “the listener.” This individual may be worshiping inwardly, like we talked about in Episode 33 – “Tough Crowd or Appreciative Audience,” but if they are not singing, I would not consider them to be someone positioned to support me in my effort.There's another congregant I've seen many times, and this is one I'd call “the mumbler.”  This is a person where, if I look at them, it's rare that I can visibly discern what the words are that they may be trying to sing. This is a very tentative individual, who again could be worshiping with devotion, but who does not manifest this posture outwardly. Their lips move, but only haphazardly.  At times, it even looks like they are mouthing words in a different language, and our worship lyrics are being overdubbed.When I see this person “sort of” singing, I know that I can't consistently rely on them visually.What I'm talking about in terms of a confident congregant is someone who is visibly committed to singing the words. I can tell in seconds if someone is a confident congregant because every bit of their body language indicates that they want to be there, and they are taking the opportunity to sing with great appreciation and joy.Do they have to be a good singer?  Not at all.  In fact, it's rare that I will be able to even hear the confident congregant.  But if he or she is singing boldly, and I can see him or her, I'm set up for success.Usually, the confident congregants situate themselves in the first couple of rows, which is a blessing to me, because they are nice and visible.Now I still say that memorizing the song, or at least knowing it really, really well is the best measure of care, because what I don't want to do is gaze into the eyes of the confident congregant for more than a few seconds.  That could get awkward…pretty fast.Building a Repertoire of SongsAs I endeavor to develop and internalize a repertoire of songs, there are several intentional steps I take.  My worship song repertoire building method in a nutshell, is this: * Discover the song* Learn the song* Become very familiar with the song (perhaps even memorize it)* Practice the song with the band, referencing the chart as little as possible, and then…* When leading the song in church, grab a little boost of confidence from the confident congregantIf the script of the song is joyful, you may even exchange a spontaneous smile with them.As you lead the singing, or even if you're supporting the worship leader from your guitar, if you know the song well enough, you won't really need to look at the confident congregant much at all – you'll know where you are most of the time.Remember, you don't have to memorize your music. You don't have to work without a music stand or a tablet.  And you don't have to ask your projectionist to turn off the confidence monitor if you have one. You can rely on multiple forms of support.But as you become more comfortable in the worship space and look around as you play, when that rare moment comes along when the projectionist isn't on time with a slide transition, or you aren't 100% sure how that second verse starts, you can glance out at your incognito worship team member, who may not even realize what a blessing they are, and grab the cue you need to keep moving forward.With that, I challenge and encourage you to play skillfully, lead God's people in a sincere worship offering, and have serious fun as you do it.  And when the need arises, as it often will…let the confident congregant cue you.   I hope this discussion was helpful to you, and that you now have some new perspectives on collaboration, memorization, and worship leading with confidence…knowing especially that there may be helpers in the congregation who are a blessing simply by being there and singing to the King with us. Here at Guitar Serious Fun, while many of these episodes pertain directly to the guitar, some do not, and that's ok.  Our musical journey has many touch points. Another discussion from not too long ago that I might encourage you to check out, if you want another non-guitar related topic that can be highly relevant, especially to performers, is Episode 14: From Paying to Play to Playing for Pay.As you can probably tell, these episodes are meant to enhance, inspire, and equip you. And if you are feeling momentum in any of these ways, I encourage you to spread the word about what we're doing here.  Please forward any of these episodes to others whom you think might appreciate them.And on the subject of Guitar, I hope you'll check out GuitarSuccess4U. Thanks so much for experiencing today's episode, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Transcript included below…I remember the first time I did a ride-along with a police officer buddy of mine.  It was later in the evening as I rode in the passenger seat for a few hours.  We drove through town, making sure the city streets and the neighborhoods were quiet and safe. My friend had briefed and prepped me for what to do should things get exciting.  But we mostly did traffic stops.One particular speed trap he had discovered was exceptionally strategic – he backed up a steep driveway that merged onto a curved road.  The police car we were in was obscured from the road by a hedge, so it was virtually undetectable. Anyone driving past wouldn't see us until it was too late.  So, we pulled over several drivers.  And the recurring theme (as I'm sure you'd expect) was that they didn't realize how fast they were going over the speed limit. Most of the drivers were issued a warning, but as you can imagine, people who go over the speed limit will occasionally be recipients of a ticket.  I, myself have been given a couple speeding tickets over the years.Full disclosure – I haven't just been guilty of going too fast behind the wheel…I've also been guilty of playing songs too fast on my guitar. I've blazed past the prescribed tempo, and not only has it affected my fellow collaborators – it has affected the people I either sing to, or lead in singing.  And if I'm willing to look closely at these experiences from an objective perspective, my haste with the tempos has compromised the quality of the songs.Now, some songs have a very wide tempo range, meaning that they can be played within several metronome settings and sound just fine.  Others, if they pass a certain tempo mark, can sound frantic, make the lyrics hard to sing, and lead to imprecise playing.In my experience, we as guitarists tend to err on the side of playing faster, rather than slower, but both are possible. What causes a variation in tempo?  Any number of things, including nerves, a lack of familiarity with the chart, fatigue, and even what I'd call musical peer pressure, where instrumentalists are fighting with each other over what the tempo is.We can rush the tempo because we're on edge.  We can drag the tempo because we're trying too hard not to rush the tempo.  Any number of factors can lead to a hot mess of a song if we're not careful.Are there some strategies to help keep us on track?  Yes there are.  And I'm about to share several with you.Purchase A MetronomeThe first tip I recommend is to invest in a metronome.  There are smartphone apps, of course, but I really like the feel of an actual metronome in my hands. I recommend the Seiko SQ50-V Quartz Metronome for its durability.  This thing has literally taken a lick and kept on ticking.  I've had my current one for over a decade, and I've dropped it hundreds of times.  It still works.Whatever song I'm learning on whichever instrument, having a metronome nearby has been essential for me. I remember in college watching one of the conductors of our orchestra reference his metronome for starting tempos nearly every time we began a rehearsal or a song.This guy was a world-class musician, composer, and conductor.  And a metronome was one of the main tools in his toolkit.  If it was good enough for him, I'd say it's good enough for me.Becoming familiar with the settings on a metronome, with the Italian tempos, can be super helpful. Which settings are allegro?  Which are moderato?  What does a metronome feel like in 4/4 time as opposed to compound duple (better known as 6/8 time), when the beat is a dotted quarter note, with two pulses per measure?Can we subdivide and play with twice as many metronome clicks for better precision?  Absolutely.  This is a strategy I've employed for dozens of songs in the recording studio, when the red recording light is on and cash is leaving my wallet by the hour. Whereas we can get away with quite a lot on stage, nothing escapes the microphone in the recording studio.  And although we can do lots of editing to correct things, it's more efficient and less expensive to get a really good take.  So, we really want to record well.And how do we get to where we can record well?  My next tip will not surprise you.Practice Your SongsPracticing will only enhance our steadiness as musicians.  And if we practice with a metronome, well, we become more and more aligned with the prescribed tempo, whether we're playing someone else's song, or one we ourselves have written.How much do we need to practice?  Well, how important is it to us to play well? I'd say that a quick cursory pass through a song isn't going to cut it. If I'm on a worship team and my first time playing through a song (or at least my first time in a while) is to open my guitar case at rehearsal and do a quick run-thru of a verse while other team members are arriving, am I offering my first fruits?  Nope.The diligence that I believe is needed is solo practice during the week leading up to the rehearsal.  Linda Collins, an expert in our GuitarSuccess4U experience, has over 30 years of worship leading experience. When I invited her to help me define the two different settings for preparation for worship music, we landed on 1) the guitarist's solo practice session, and then 2) the worship team rehearsal.  When I asked her how much time she thought was warranted for the guitarist to learn his or her part on their own, versus trying to figure it out during rehearsal, she said this:“Well, I would say it depends on whether you consider yourself a leader or a follower…and for acoustic guitar players, I hope you consider yourself a leader in the band. And it takes much more time to internalize a song, to learn the whole arc of the song, to just get so comfortable with it, you can get out of the music a little bit. And so, I would say, you know, maybe three half-hour sessions, at least on a new song.”That is some sage advice, right?Incidentally, if you don't have the song learned yet, I don't recommend introducing the metronome until you do.Leverage a Click TrackSome worship teams rely heavily on In-Ear Monitors, for which a click track is often provided, keeping everyone aligned with a prescribed tempo as it clicks inside each person's audio mix.  I personally don't prefer this approach, but I know many musicians who do.The upside of In-Ear Monitors is that with a click, the band can have greater precision and unity.  The downside is that In-Ear Monitors have the potential to create a bit of a sonic barrier between the onstage musician and the people in the congregation/audience. I feel very far away from the people I'm ministering to when I wear those things.Even with a mic that captures the sound of the audience, I've been less in favor of In-Ears, unless absolutely necessary.  I used them every week for an entire year before deciding they were just not for me.Be as Specific as Possible with Tempos When RecordingIn the recording studio, tempos are paramount.  Once you've decided on a tempo for a song, you've created a grid over which all the other instruments will be laid out.  For my most recent album, I made the mistake of not really planning the tempos well.  So, when I went into the studio and made scratch recordings for all 11 songs, when I listened back, only one of the songs seemed to be at an appropriate tempo.  The rest were just a few notches too fast.  My producer graciously agreed to re-record the other 10 scratch tracks with me to get them right. And it was totally worth it.As a worship leader, I've had many debrief meetings with my leadership teams about how the past Sunday went.  Have you heard the term “Honest Monday” or “Honest Tuesday?”  Yep.  It's a chance to get everything out on the table in an informal team meeting, with a view to improving our processes.But at these meetings, most of the people on the team saw things from the administrative realm or the pastoral realm, so only a couple of us were really focused on the music aspect.Talking about the morning worship experience is good…watching recorded video is better.  It's super helpful to see how we come across visually.  But it can also be super humbling, right?Are we looking down at our music stands because we don't know our music well?  Do we look like we want to be there? In terms of the audio aspect, is our pitch good?  Are the instruments in tune?  Are they balanced in volume?  Lastly, and related to this discussion, are our tempos on point?If you're not in a position to access video recordings of you and your team, I recommend investing in an audio recording device.  A portable digital recorder can allow you to capture your rehearsal, or even your morning of worship, or an evening performance, and then to listen back.  Even a smartphone voice memo will suffice.I've even been known to use a loop station pedal and play a portion of a song into it, so I could listen back, not just for my tempo, but my musicianship.Again, a video (or audio) recording of a live worship set can be very revealing and humbling, but if we are desiring to harness and shape our tempos to achieve a greater level of precision, this could be a huge step in the right direction.I'll add that playing songs slowly can actually be really, really tough.  Some of the most difficult songs I've learned to play are at extremely slow tempos.  Feeling those beats and holding the tempo steady can be a serious challenge, but it can be overcome.Tape a Large Note to the FloorAt one point in my touring, I became keenly aware that I was getting overexcited with my tempos, especially in front of young, wiggly audiences at camps, Christian school assemblies, and Vacation Bible School concerts.  I was off to the races and couldn't seem to slow down.  So, I took the simple measure of writing the word “TEMPO” in all caps on a large piece of paper, and I taped it to the floor right in front of me on the stage. This was far from any sort of technical piece of hardware or software.  But each time I caught that piece of paper out of the corner of my eye, I took it as a gentle reminder not to let my tempos get too fast. And it worked.PrayI don't think it's beyond the realm of possibility to say that most people don't pray about their tempos.  It may fall under the umbrella of, “Lord, please guide us to a skillful offering for Your glory,” but if tempos are a sticking point, why not commit them to the Lord?He can quiet our hearts.  He can remind us of the rhythmic meter of a song we've begun to internalize.  And He can unite the band around us.  He's the Creator of the Universe, and I believe He is the true Master of Rhythm. Think of the rhythm of the spinning of the planets, the turning of the seasons, the beating of our hearts, and the flapping of the wings of a hummingbird.  Does the Lord know what it takes to have skillful tempos?  I really think He does.Other TipsPerhaps we collaborate a lot with our music, and a drummer is one of our collaborators.  If the drummer starts a song too fast or accelerates, I will visibly lean back and raise my eyebrows, so that he or she knows we need to slow down a bit.If I'm strumming too fast, sometimes the drummer will lock in his or her beat and gently help guide me back to tempo.Remember, tempos played well lead to better musicianship. Another of our guest experts in GuitarSuccess4U, a seasoned drummer named Jason Edwards, talks about what he has to do when a guitarist is not steady with his or her tempos.  Here are a couple of Jason's thoughts:“Occasionally if I'm on a gig with a rhythm guitarist that doesn't have a real good sense of that pulse, then I will kind of have to babysit them a little bit and maybe keep time on the high hat during an intro that you really don't want the drums kind of smackin' the cymbals and stuff in the background like that. So, yeah, that would be definitely the number one thing is just a good, good foundation sense of the pulse.”Collaborating with Jason has shown me that my precision leads to greater freedom for both of us, as has been the case with many musicians I've collaborated with.If absolutely necessary (and I've seen this done onstage more than a few times), the band leader can stop the song and without making a big deal about it, say something like, “I think we're going to start this one again.” Better to stop and start over than to play an entire song through that's not on track.Rehearsing as a group is a great way to take a pulse.  Even during a song, I'll ask into my mic, “How's my tempo?”  My band mates will likely look at me with one of two expressions: concern or contentment.  And then I can adjust my trajectory if needed.Remember, this isn't about perfectionism.  It's about skillful execution.  And Psalm 33:3 reminds us to “play skillfully and shout for joy.”  Let's discover or rediscover what it feels like to play skillfully, especially when it comes to our tempos.Well, I think today's discussion has given us some excellent things to think about so that the tempo police won't pull us over in any of their speed traps.  And if they do, we'll probably only get a warning, right?There are a lot of implications to playing with a solid tempo, and I hope that by experiencing these thoughts today, they've given you a better sense for how your musicianship can be enhanced in this way.Tempos played well lead to a higher level of musicianship for us as guitarists, but also any musicians we collaborate with.  And this leads to serious fun.If you can think of other tempo suggestions, please feel free to provide a comment here.  And don't forget to give this podcast an excellent rating so more people can experience it.  Please also consider sharing it with others who might appreciate it.Thanks for experiencing this episode, and I'll see you next time.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

In Ear Monitors are the way to go for your church.  Are they?  What kind of earbuds should you buy?  What are the difference?  What's that smell?  We talk in ear monitors this week. Here are the links that we talk about: Me Electronics Buds:https://www.amazon.com/dp/B07B4PR2GD/ref=cm_sw_em_r_mt_dp_GDZKCWDVXFZ46N4NR0J2?_encoding=UTF8&psc=1KZ Budshttps://www.amazon.com/dp/B01N0782B3/ref=cm_sw_em_r_mt_dp_ERZKDV40Q1398Q64DYBGAudioFusion https://audiofusionsystems.com/X Vive (More expensive than I thought, but still a good price)https://www.sweetwater.com/store/detail/U4R4--xvive-audio-u4r4-wireless-in-ear-monitoring-systemAnd as always, hit us up on the socials!https://www.facebook.com/worshipguytechguyinstagram.com/worshipguytechguyor email us!tech@worshipguytechguy.comworship@worshipguytechguy.com

EP006: CARLOS ESTEVES - Monitor Engineer for Iration, Dodie, Sublime w/ Rome, Dirty Heads + FOH Engineer for The Expendables, La Santa Cecilia, Aly & AJ, The Wailers // Venezuela Native. Ft. Lauderdale Resident. Stage Right Snack Master. Golden Doodle Dad. Partial to "Revolver". IG: @carlosestevesq - @33round_art  IG: @stagerightpodcastFB: @carlos.esteves.5074   Twitter: @revolutionrock2

EP004: LEE ANDERSON - Independent Artist and former Touring Sound Engineer / LA Raised. Oakland Living. Fixed Bike Enthusiast. Vegan Meal Prepper. Mix Master Musician. IG/Twitter: @grooveinsight ~ FB: @leeandersonofficial

IEM's or In-Ear Monitors. Ear plugs are great and have their place but in most live/performance and recording situations, I HAVE to use IEM's. I discuss what they are (to the best of my ability!) and why I use them VS ear plugs 99% of the time. Enjoy!Support the show (https://www.patreon.com/GearAddict?fan_landing=true)

Yancey Pon Franco is a Boom Op based out of Los Angeles, California. Uses a Sound Devices 442 mixer into a Sound Devices 744 recorder, Lectrosonics 411 and 211 wireless, Rode NTG3 and Shure 215 In-Ear-Monitors.

This week we're please to have an interview with Mathew Passy of podtopod. We'll discuss Mathew's experience and history in both broadcasting and podcasting. We'll also discuss the New DMR/Texas A&M 'Download On Podcasting' advice for podcast newcomers and Stephen will also tell you about how his experience with some In-Ear Monitors. Finally, Stephen and SP are redoing their Rode Procaster test - find out why. Do you have something to say about the art of hobby podcasting? Do you want to chime in on an episode of Better Podcasting? You can always ping us on Better Podcasting on the internet at the following places: @BetterPod http://facebook.com/betterpodcasting http://betterpodcasting.com Not familiar with Better Podcasting? We talk about podcast tips, tools and best practices to help you succeed with your podcast! Just like you we podcast purely out of the love and the fun of it. Podcasting is our hobby and we love that it is yours too! We always encourage your questions and feedback and you can find all of our contact information at betterpodcasting.com. Stephen Jondrew and Stargate Pioneer thank you for listening, downloading and subscribing to Better Podcasting. We hope you come back for more Better Podcasting! Happy Podcasting! This podcast was recorded on Friday, March 31, 2017 – Show usually streamed Live to www.Geeks.Live. Audio/Video Production by Stephen Jondrew of GonnaGeek.com

Many churches suffer from poor sound in their sanctuaries. It doesn't have to be that way. Today we cover seven principles that you can apply immediately to improve the sound in your church's sanctuary, whether you're in a big church or a small church. Enjoy the practical advice in this episode, and may it help you get clearer, cleaner, better sound for the glory of God! A good sounding system in a bad sounding room will still sound bad. -Tweet That! When arranging your song, spread your band's parts across the frequency spectrum to improve your sound. -Tweet That! No amount of EQ is going to fix crappy cymbals. -Tweet That! The sound tech is the most important person in the room (besides the Holy Spirit). -Tweet That! Direct Download Say hi on TWITTER, INSTAGRAM, or FACEBOOK Resources: Acoustics: Roxul Acoustic Foam Bass Traps Gilford of Maine Acoustically Transparent Fabric CCI Solutions Stage Volume: Clearsonics Drum Shield Clearsonics Drum Shield with Roof Hot Rods Electric Drums Allen & Heath ME-1 Roland M-48 Behringer PowerPlay P-16M Behringer PowerPlay P1 Shure SE215 Art Headphone Amp Tech21 SansAmp Bass Driver DI Episode 14 - 'The Ultimate Guide to In Ear Monitors for Churches' Arrangement: Episode 6 - 'Playing In Parts - How to Sound Like a Professional Band' Sources: SM58 Beta 87A Audix D6 Digital Board: Behringer X32 Digital Board Behringer Digital Snake (optional) Resources for Sound Techs: Lynda.com (Training Videos) Church Tech Arts BlogWorship Sound Guy BlogGreat Church Sound BlogChurch Production Blog Quiztones App 'Audio Essentials' E-Book Room Tune: CCI Solutions   Our Sponsor This Month – Coresound Pads Add rich, beautiful ambient sounds to your mix in three simple steps. Coresound Pads are the best sounding worship pads I’ve ever used, and I’ve tried them all! Check out this video demo. Our listeners get an exclusive discount! Enter WLTPODCAST at checkout for 20% off the Deluxe Bundle (update: now all bundles!). Not sure? Try out some sample pads for FREE! Enjoy the podcast? Help us out by forwarding it to a friend, sharing it on social media, leaving us a review on iTunes, and subscribing! Got a suggestion, idea, topic or comment? Leave us a voicemail.

Jerry Harvey, founder of Ultimate Ears and JH Audio, joins your two favorite weekend warriors to talk in-ear monitors and more. Jerry has seen so much during his career that his advice likely outweighs his stories, and his stories are epic. Today he offers tips on not only mixing your in-ears, but mixing drums and how to run a successful sound-check, as well. Plus, if you were ever curious about how to go about choosing a set of in-ear monitors, Jerry's got more than a few things to help get you on your way. The stories? Well, let's just say that if you're driving the right red car down the right street at the right time you might just get introduced to the future singer of Van Halen. Or perhaps hanging out in the right bar at the right time might get you introduced to the former singer of the same. Plus, a scoop on the new universal-fit line coming from JH Audio! Want more? Press play and enjoy the episode. We sure did! Chapters/Timestamps: 00:00:00 GigGab 86 – October 17, 2016 00:01:39 Jerry Harvey 00:02:38 Hearing Loss leads to invention 00:03:42 Multiple drivers in each ear 00:05:37 Started as a roadie that wanted to mix 00:07:14 A red car can attract the right rock star 00:09:05 Dave invites Jerry to Eat ‘em and Smile 00:09:54 Don’t engage the egos! 00:10:49 A lesson on mixing drums from Alex Van Halen 00:15:57 Who doesn’t like IEMs? 00:18:43 Slash says JH Audio Roxanne IEMs made him a better player. 00:19:40 Hard to get the mix right 00:22:07 Advice for drummers 00:25:03 Proper sound check structure is key 00:27:05 Vulture Capital plus General Aviation leads to In-Ear Monitors again! 00:28:31 How to choose In-Ear Monitors 00:35:28 Find Jerry and the team at JH Audio 00:36:18 New Universal line coming from JH Audio!

In this episode Travis, Max, and Brian discuss where they prefer their speaker placement on stage, amp stands, boosting overdriven amps, and Max and Travis’ new band. http://www.wamplerpedals.com/podcast/ for podcast subscription, or go to http://www.wamplerpedals.com/subscribe to be notified of new podcasts and videos that are uploaded to this channel. 2:25 – Speaker Positioning On Stage – Amp Stand Or Stage 10:15 – Guitar Through The Monitors 14:40 – In Ear Monitors 18:10 – Max’s PA Head 19:40 – Boosting An Overdriven Amp 21:00 – Brian’s Nerd Talk 30:00 – Max And Travis’ Band Name Find us at: http://www.WamplerPedals.com http://www.Facebook.com/WamplerPedals http://www.Twitter.com/WamplerPedals http://www.Instagram.com/WamplerPedals http://www.Facebook.com/ChasingTonePodcast http://www.Instagram.com/ChasingTonePodcast

In Ear Monitors, Part 2 In this episode of the podcast, David & Kevin talk about their recent, unintentionally simultaneous transitions to In Ear Monitors and personal mixers. In part 2 we talk a bit about the benefits and what we call the theory of using the monitors. If you want some tips on how to maximize […]

In Ear Monitors, Part 1 In this episode of the podcast, David & Kevin talk about their recent, unintentionally simultaneous transitions to In Ear Monitors and personal mixers. Listen in as we talk about what we’ve learned. You’ll especially want to listen if you’ve thought about making the switch, or heard others talking about it and […]

We follow up on last weeks 4K discussion, look at a replacement for FMLE, take a look at the Sony PXW Z100 and answer a question on In Ear Monitors.

Mike, Dave & Jason discuss the benefits and challenges of in-ear monitors on the church stage. We talk about how to get the most from a move to IEMs and when you might want to hold off.