I have heard 4 singers and one of them with a guitar on a stage with one microphone, no monitors, no IEMs just them and one mic. They constantly rearranged them selves to "mix" there sound. Different ones would move in front of the mic for a solo or lead part. It sounded great.I work in a old church with a small platform that is completely unstable for a worship team. The team is arranged in the only space available. Four singers, one acoustic guitar, one electric guitar, a grand piano and a drum kit (no aquarium) right in front of the piano. The nearest member of the congregation is about 8 ft away. IEMs with personal mixers are the Silver Bullet in this case. I would not be without them. Our sound was good before we had them, now it is great.
We had a single mic old time traveling gospel group play last year for worship it was really great. I am glad IEMs work in your application I stand by my assertion that stage sound is the essence of live performance. If it isn't why not just wire the sanctuary so the entire congregation can wear headphones it would probably be cheaper than the ridiculous powered line arrays some churches are getting talked in to buying, in fact better yet lets have corporate worship by all sitting at home in our basements listening to the service stream over high quality headphones. reductio ad absurdum.
So let's begin at the very beginning. Let's say you have a straightforwardjazz/blues combo onstage. Drummer starts with a backbeat. Kick,snare,kick,snare... (can you hear this? bump, CRACK, bump, CRACK... maybe somehi-hat eighth notes or whatever...) No Problems with Clarity or Punch so far. (I'mgoing to abbreviate that last sentence as NPCP from here on-- with me?)So the string bass comes in (or P-bass, whatever), with a walking line that hits thebackbeat accents. The bass player is in the groove, the bass notes are just givingtonality to the drum hits. The bass player, onstage with the drummer, is playingjust loud enough to complement the drums. NPCP. With me?Singer starts in, alto, let's say. She's singing, nice and mellow melodic lines overthe punchy backbeat and the mellow bass sustain and tonality. NPCP. Anyquestions?Singer breaks for the pre-chorus. Guitar player comes in with a little melodic fill,echoing the vocal line, then switches to a spanky backbeat pattern that reinforcesthe snare drum as the singer delivers the chorus. With me so far? NPCP, right?Second verse. Singer. Guitar now continuing the backbeat pattern, just mutedchord stabs over the snare. Tenor Sax comes in low and mellow, an octave belowthe singer, fattening up the melody and providing a tonal bed. NPCP, right?Second chorus. Singer delivers full-throated, lots of harmonics, sounding almost anoctave higher as the tenor sax continues and as a Hammond organ jumps in,reinforcing the tenor sax part an octave lower with the left hand, and playing somefat upper-register echoes of the guitar part with the right hand. Band now soundshuge, but everything still has its own space. NPCP, right.Third verse. Guitar now switches to a funky chunka-chunka part that hits thechords on the backbeat but also chugs the hit-hat. Singer picks up her tambourineand the whole band starts to shimmer and shake with the jingle-jingle-THWACKjingle-jingle-jingle-THWACK-THWACK! Organ still jabbing the right-hand chords andechoing the sax on the lows, sax now playing fills between the vocal lines (there isa reason why they are called "fills"), bass and drums still pounding out thebackbeat, singer still in full control of the alto range with full-throated harmonicscompeting with the organ jabs for the soprano range.NPCP like a motherf***er, and this is just the first song of the set. Nothing to dobut put up a mic and step out for a smoke. Even if you don't smoke. The bandmixes itself.__________________Now let's contrast the above with a typical amateur garage band.For one thing, the drummer is never playing bump, CRACK, bump, CRACK-- he'splaying a drum solo the whole time, whether he's any good at it or not-- cymbalscrashing, toms rolling, kick and snare playing all around the beat but never on it,with no attention paid or the decay of the drums or how the drum sustain fits withthe tempo...Next, the bass player is not reinforcing the drum beat (there is none), the bassplayer is playing her own lead part, complete with loosey-goosey timing, anoverloaded, clackety, stringy, midrangery sound that can barely keep up with thesteady atonal crush of overloaded mud in the lows as she strives to prove that she'sreally just another guitar player...The guitar player(s), meanwhile, are stomping all over the vocal range, thoroughlyconvinced that the only reason anyone listens to music is to hear guitar riffs and"solos," which are of course guitar parts played in the presence range whenever theguitar player feels like playing them, without regard to whether any otherinstrument including the singer have actually dropped out...Meanwhile the singer is probably also cluelessly strumming chords on an overdrivenelectric guitar, with little sense of punch or clarity, just trying to be heard above thecacophony, often as not playing the wrong chords for the key of the song, butdetermined to strum them on EVERY VOCAL NOTE and somehow you are supposedto make that fit into the rhythm and tempo of the rest of the band (which has norhythm or tempo to begin with). On top of that, concepts such as "range" and"melody" are lost on this singer who switches octaves constantly (badly) and whomakes up for inability to create melodic tension by howling tunelessly (which youare somehow supposed to make sound "soulful" or "passionate")...Meanwhile the keyboard player is in her own little world (and who can blame her),playing some kind of late-80's rearrangement of the whole song that is completelydisconnected from the rest of the band (and also totally saturating the uppermids)...Our poor soon-to-be fired horn player is left trying to play fills in no particular key(cue sad horns wah-WAHHHH)....__________________Okay, so let me take off my jaded audio guy glasses for a sec and stipulate thatthe second example might actually NOT be a bad band. They might actually havegood songs, and an impassioned, energetic delivery and good musical and personalcharisma. They might be the next Nirvana. But this is not going to be a "set up amic and go out for a smoke" recording project...
We have a stage sound. We need to with acoustic guitar piano, drums, and singers. It is a good sound. On practice nights I routinely go up and listen to it so I am working to reinforce. Our IEMs don't eliminate or ruin our stage sound. They allow us to control or manage it. IEMs The Silver bullet The Chapel in Buffalo NY broadcasts there service live over the internet. They have a large internet following and a guy in the booth monitoring twitter and facebook. That guy has lead people to the Lord using twitter on Sunday mornings. http://www.thechapel.com/We use what works.There live service in my opinion is better. Frank
Any path to the kingdom I guess but its a stretch for me to see that "where ever two or more are gathered in my name" means via twitter.
They find that in most cases the people watching are students at a near by college. Most of them will invite a few friends and watch in there dorm rooms so I guess they meat the legal requirement for two or more.
Unless they're vegetarians.....
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