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<blockquote data-quote="brian maddox" data-source="post: 55743" data-attributes="member: 158">Re: Mixing IEMcouple of thoughts i haven&#039;t seen anyone else bring up yet.1.&nbsp; Occlusion Effect is a PITA for singers.&nbsp; that&#039;s the icky hollow sound the singer hears in their head when they sing that mixes with their monitor coming back to them.&nbsp; the worst part of it is that there is actually No Way for the Monitor Engineer to hear it.&nbsp; best way i know to work around it is to split the vocal mics and run one to the rest of the band and the other back to the vocalist with a pretty bright eq curve to compensate for the mud they hear in their head.2.&nbsp; MOST singers shouldn&#039;t get compression back to themselves.&nbsp; it causes them to have really lousy mic technique which makes the FOH guy&#039;s job harder.&nbsp; the vocal mic SHOULD be compressed for everyone else.&nbsp; see split channels reference above.&nbsp; there are exceptions to this [sounds like Evan&#039;s band is one of them] but this has been the norm for me.3.&nbsp; it&#039;s been said but...&nbsp; Panning, Panning, Panning.&nbsp; once you get an IEM rig with good stereo separation, there are easily 12-14 points in the stereo spread that you can &#039;place&#039; things that are easily distinguishable from one another.&nbsp; best plan is to pan things according to how the performer is physically positioned on stage.&nbsp; but if, for instance, the player is stage left and there are 2 guitar players stage right of him, i&#039;d still put one of those players towards his left side for separation.&nbsp; you can also spread stereo sources differently to create definition.&nbsp; i&#039;m a guitar player and when i play i use a 2-voice guitar that produces electric and acoustic sounds at the same time, both in stereo.&nbsp; my acoustic sound is spread far left and right and my electric sound is at about 9 o&#039;clock and 3 o&#039;clock.&nbsp; everything still sounds centered, but i can hear the two sounds very distinctly.that&#039;s all i got.&nbsp; the other ideas in this thread are very good as well...</blockquote>

[QUOTE="brian maddox, post: 55743, member: 158"] Re: Mixing IEM couple of thoughts i haven't seen anyone else bring up yet. 1. Occlusion Effect is a PITA for singers. that's the icky hollow sound the singer hears in their head when they sing that mixes with their monitor coming back to them. the worst part of it is that there is actually No Way for the Monitor Engineer to hear it. best way i know to work around it is to split the vocal mics and run one to the rest of the band and the other back to the vocalist with a pretty bright eq curve to compensate for the mud they hear in their head. 2. MOST singers shouldn't get compression back to themselves. it causes them to have really lousy mic technique which makes the FOH guy's job harder. the vocal mic SHOULD be compressed for everyone else. see split channels reference above. there are exceptions to this [sounds like Evan's band is one of them] but this has been the norm for me. 3. it's been said but... Panning, Panning, Panning. once you get an IEM rig with good stereo separation, there are easily 12-14 points in the stereo spread that you can 'place' things that are easily distinguishable from one another. best plan is to pan things according to how the performer is physically positioned on stage. but if, for instance, the player is stage left and there are 2 guitar players stage right of him, i'd still put one of those players towards his left side for separation. you can also spread stereo sources differently to create definition. i'm a guitar player and when i play i use a 2-voice guitar that produces electric and acoustic sounds at the same time, both in stereo. my acoustic sound is spread far left and right and my electric sound is at about 9 o'clock and 3 o'clock. everything still sounds centered, but i can hear the two sounds very distinctly. that's all i got. the other ideas in this thread are very good as well... [/QUOTE]

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