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I frequently see performances where the performer is obviously having an issue with their earpieces, as Kelly Clarkson does here, eventually pulling them out completely. I assume these are high-quality earpieces and the levels are adjusted in rehearsal by people who know what they're doing, why are they so frequently still a problem for the performer?

https://www.youtube.com/watch?v=8mAY60mR7Zc

[geoff]

On 27/04/2021 5:23 pm, wrote:
I frequently see performances where the performer is obviously having an issue with their earpieces, as Kelly Clarkson does here, eventually pulling them out completely. I assume these are high-quality earpieces and the levels are adjusted in rehearsal by people who know what they're doing, why are they so frequently still a problem for the performer?

https://www.youtube.com/watch?v=8mAY60mR7Zc


Maybe because the IEM monitor mix isn't to their liking, or maybe
because it just sounds unnatural and 'disconnected'.

Dunno if anything would have helped in this particular instance though ...

geoff

[Don Pearce[_3_]]

On Mon, 26 Apr 2021 22:23:00 -0700 (PDT), "
wrote:

I frequently see performances where the performer is obviously having an issue with their earpieces, as Kelly Clarkson does here, eventually pulling them out completely. I assume these are high-quality earpieces and the levels are adjusted in rehearsal by people who know what they're doing, why are they so frequently still a problem for the performer?

https://www.youtube.com/watch?v=8mAY60mR7Zc

A lot of singers can suddenly feel themselves a bit disconnected and
they need to "hear the room". Pulling out one earpiece restores things
instantly.

d

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[polymod]

"Don Pearce" wrote in message
...

On Mon, 26 Apr 2021 22:23:00 -0700 (PDT), "
wrote:

I frequently see performances where the performer is obviously having an
issue with their earpieces, as Kelly Clarkson does here, eventually pulling
them out completely. I assume these are high-quality earpieces and the
levels are adjusted in rehearsal by people who know what they're doing, why
are they so frequently still a problem for the performer?

https://www.youtube.com/watch?v=8mAY60mR7Zc

A lot of singers can suddenly feel themselves a bit disconnected and
they need to "hear the room". Pulling out one earpiece restores things
instantly.


Agree 100%. As a (so called) vocalist I find myself doing the one ear
monitor thing quite often for that very reason.

Poly


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[Chris K-Man]

On Tuesday, April 27, 2021 at 6:37:08 AM UTC-4, polymod wrote:
"Don Pearce" wrote in message
...
On Mon, 26 Apr 2021 22:23:00 -0700 (PDT), "
wrote:

I frequently see performances where the performer is obviously having an
issue with their earpieces, as Kelly Clarkson does here, eventually pulling
them out completely. I assume these are high-quality earpieces and the
levels are adjusted in rehearsal by people who know what they're doing, why
are they so frequently still a problem for the performer?

https://www.youtube.com/watch?v=8mAY60mR7Zc

A lot of singers can suddenly feel themselves a bit disconnected and
they need to "hear the room". Pulling out one earpiece restores things
instantly.

Agree 100%. As a (so called) vocalist I find myself doing the one ear
monitor thing quite often for that very reason.

Poly
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_____

Wouldn't have that problem with good ol fashioned stage wedges.
Aslo, one can incur hearing damage a lot quicker with an in ear monitor
millimeters from their ear drum, than with a wedge two-three meters
away, on the floor.

[Mike Rivers[_2_]]

On 4/27/2021 1:23 AM, wrote:
I frequently see performances where the performer is obviously having an issue with their earpieces, as Kelly Clarkson does here, eventually pulling them out completely. I assume these are high-quality earpieces and the levels are adjusted in rehearsal by people who know what they're doing, why are they so frequently still a problem for the performer?

It's all about getting a good in-ear mix. With bands that are well
rehearsed and have a dedicated in-ear monitor mixer (person and
equipment), it works pretty well most of the time. But with shows where
a singer, even a famous one with a regular crew, does one song, there
often isn't time to get the system set up like it usually is. And in-ear
mixes aren't a "get it right once and set it like that all the time"
thing. It depends on the venue and the program. For example, with
something like the Grammys, the in-ear mix is rarely the artist's
working band, and often it includes pre-recorded portions of the music
that are different from what the singer usually hears.

As far as hearing "the room" - the people who do it right put up a few
mics for ambience and mix that in with the dry monitor signal. Some
in-ear systems are now including microphones to give the wearer an
individual "right where your head is" ambience.

In-ear monitoring is far more complex than wedges, but the advantages
are worth while if it's done right and everyone cooperates. But it can
easily fall to pieces.


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[Don Pearce[_3_]]

On Tue, 27 Apr 2021 10:06:36 -0400, Mike Rivers
wrote:

As far as hearing "the room" - the people who do it right put up a few
mics for ambience and mix that in with the dry monitor signal. Some
in-ear systems are now including microphones to give the wearer an
individual "right where your head is" ambience.

Isn't that prone to latency issues? That would be horribly confusing.

d

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[geoff]

On 28/04/2021 2:06 am, Mike Rivers wrote:
On 4/27/2021 1:23 AM, wrote:
I frequently see performances where the performer is obviously having
an issue with their earpieces, as Kelly Clarkson does here, eventually
pulling them out completely. I assume these are high-quality earpieces
and the levels are adjusted in rehearsal by people who know what
they're doing, why are they so frequently still a problem for the
performer?

It's all about getting a good in-ear mix. With bands that are well
rehearsed and have a dedicated in-ear monitor mixer (person and
equipment), it works pretty well most of the time. But with shows where
a singer, even a famous one with a regular crew, does one song, there
often isn't time to get the system set up like it usually is. And in-ear
mixes aren't a "get it right once and set it like that all the time"
thing. It depends on the venue and the program. For example, with
something like the Grammys, the in-ear mix is rarely the artist's
working band, and often it includes pre-recorded portions of the music
that are different from what the singer usually hears.

As far as hearing "the room" - the people who do it right put up a few
mics for ambience and mix that in with the dry monitor signal. Some
in-ear systems are now including microphones to give the wearer an
individual "right where your head is" ambience.

In-ear monitoring is far more complex than wedges, but the advantages
are worth while if it's done right and everyone cooperates. But it can
easily fall to pieces.

However even at best it is the music performance equivalent of wearing a
condom.

geoff

[Mike Rivers[_2_]]

On 4/27/2021 3:39 PM, Don Pearce wrote:
On Tue, 27 Apr 2021 10:06:36 -0400, Mike Rivers
wrote:

As far as hearing "the room" - the people who do it right put up a few
mics for ambience and mix that in with the dry monitor signal. Some
in-ear systems are now including microphones to give the wearer an
individual "right where your head is" ambience.

Isn't that prone to latency issues? That would be horribly confusing.

Sorry if I wrote that as if you were putting up audience mics for a
recording. You don't put the mics where you can clearly hear the house
or monitor mix, you put then to pick up with a player on stage would
hear. And you mix in just a little.


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