If you are looking to market and sell your product in the lucrative Asian market, your search should start and end with SoundCat. We have the expertise and experience to make your products fly in this happy listening revolution!
Paul Klimson shares his expertise on the day-to-day portions of mixing a late night TV house band and navigating the role that music plays in reinforcing the comedy portions of the show. He discusses various talkback systems and using IEMs for program feeds.
In-Ear Monitors connect artists, engineers, and backline professionals. By integrating a talkback system into your in-ear mix, you can improve communications and control for all possible situations that arise during the show — without having to interfere with the performance.
One of the biggest misconceptions about in-ear monitors is that the whole band needs to make the switch at the same time. This isn't true and it's one of the leading causes of missing out on the benefits of IEMS.
Customers are aware of in-ear monitors but always assume that they are only for top-touring pro acts; the standard line being “I’ll get them some day.” And MI sales professionals didn’t have a simple process to follow. That’s why we wrote this article.
In-Ears aren't just for the artists. They provide consistency and help streamline shows. They offer the band and crew a means to communicate and they let the FOH engineer have more control over the house mix. No wonder production managers encourage their artists to get onto in-ears; they make managing the tour easier.
With IEM’s, the sound is going straight into your brain! There’s no PA to color the sound, and no distance factor that allows a sound to develop. So for an IEM mix, the key is to limit the amount of excess air in the drum sound and keep the tones warm.
Worship Musician just recently published a wonderful article by Doug Leavy - Worship & CCM Artist Relations Manager for Jerry Harvey Audio - that focuses on THE BIG question for in-ear monitors. Just how many drivers do you really need?