The Right Vibe
A common complaint from new IEM users is the feeling of isolation or lack of vibe. Ambient mics pointing at the audience can help with this – I run ambient mics from a console DCA and have just a tiny amount in the mix during a song for some feel, then push them up for applause and crowd sing-along sections.
It’s your call as to whether the artists will respond best to having the (now muted) wedges still physically on stage as a safety blanket or whether it’s best to get rid of them altogether. That’s a psychological aspect of the game and it’s up to you to determine what they’ll best respond to. A stealth option is to set up the wedges on stage as normal, then remove them. Keep them out of sight but close by, and leave the cabling and amps set and ready to go just in case the artists panic and want them back – it happens and it’s a process.
Also consider small side fills and/or subwoofers on stage to add some weight and feel. Low-frequency effects transducers (a.k.a., “buttkickers”) attached to stools are great for seated musicians, and shaker mats are a good option for standing musicians who stay in one place.
Different venues obviously vary quite a bit, and your band might get plenty of vibe back from the room in a club or small theatre yet feel totally disconnected in an outdoor setting. It’s worth working with the front of house engineer and system tech on this – some PAs have “steering” options that can help output “hard avoid” the stage. While this has advantages, I’ve never met a band that enjoys it, so a little of that “back of the PA” sound can be a good thing to reintroduce.
Let artists get used to hearing their own voices and some reverb – or their instruments – in their IEMs before building the mix. Once they’re comfortable and it’s time to add on, talk them through the whole process: “Happy with the drum mix? OK, now I’m going to bring in the bass… OK? Now the guitar…” and so on.
Closing Thoughts
It’s good practice to schedule regular hearing checks for both you and artists, and to get read-outs of your respective hearing responses. This not only keeps you mindful of using level conservatively and helps in making sure you’re not doing any damage, but it also shows you where your own hearing might differ from theirs so you can be aware of over-compensating. Typically your ears would be professionally cleaned (if necessary) at a hearing check, which is also good practice.
Finally, don’t lose heart if it doesn’t happen on the first attempt of switching artists to IEMs – some immediately fall in love with them and can’t believe the clarity they’ve been missing out on all this time, while others take a lot longer to come around.
Approach the transition in a methodical, careful, understanding and unhurried fashion, and artists will feel safe and be more likely to have a great experience in their new world of clarity, consistency, and control.
Happy mixing!