I also rely on IEM only, but am thinking of bringing an extra monitor for some speaker-strings interaction. Can be very helpful, if you‘re as mediocre as I am 😂.
I've been on rotation at my church for ten years with an acoustic drum set, no plexiglass cage, just cymbal shields.
If you're playing worship music....a monitor won't matter. Not even a little....and as DonPetersen said, it will screw with the FOH mix.
You might like it, but it won't be because of string interaction.
As the first responder said; dial you live tones LIVE, at volume, that’s the key.
Mbritt profiles do it for me
They sound dull and lifeless in my desk, but come alive at gig levels
I think it has something to do with the Fletcher Munson curve….
Yes!!
That....and if you listen to a LOT of famous guitar tones in isolation, they often sound horrible. No bottom, harsh....kind of ewe.
In a mix? They sound incredible.
Whatever you do, try to hear your guitar in the context of a song being performed. It may sound like trash, but it might sound phabulous.
Double yes!!
I also rely on IEM only, but am thinking of bringing an extra monitor for some speaker-strings interaction. Can be very helpful, if you‘re as mediocre as I am 😂.
TBH I think unless you want specific controlled feedback, this is overkill and creates balance issues. Personally I struggle IEM's but the benefits are huge
TBH I think unless you want specific controlled feedback, this is overkill and creates balance issues. Personally I struggle IEM's but the benefits are huge
A lot of in ear monitors are voiced with too much of a scoop, or overly bright top end. Once I got the out front sound right, it was a gentle roll off from 4k upwards with a 6db curve for the in ears feed from the Kemper (not for FoH).
A lot of in ear monitors are voiced with too much of a scoop, or overly bright top end. Once I got the out front sound right, it was a gentle roll off from 4k upwards with a 6db curve for the in ears feed from the Kemper (not for FoH).
Im not sure its a pure eq issue but I hear (get it?) what you are saying 
The most issues I have with iem are related bone conduction when singing. But that‘s a different issue and we‘re highjacking the thread 😂.
I think I‘ll give it a try at our next rehersal weekend, where we set up the whole PA. But I‘m not relying on that, so everything is fine. Was just a thought.
The most issues I have with iem are related bone conduction when singing. But that‘s a different issue and we‘re highjacking the thread 😂.
I think I‘ll give it a try at our next rehersal weekend, where we set up the whole PA. But I‘m not relying on that, so everything is fine. Was just a thought.
Personally I would not mix the 2. The temptation, which I have seen many times is to have 1 ear in and 1 out, which is more damaging than both out.
The most issues I have with iem are related bone conduction when singing. But that‘s a different issue and we‘re highjacking the thread 😂.
I think I‘ll give it a try at our next rehersal weekend, where we set up the whole PA. But I‘m not relying on that, so everything is fine. Was just a thought.
For me rehearsals are a completely different sound whether you have speakers, or not. For a live show, the weight of sound from the PA at full volume in the venue brings a lot of low end, even through custom old in ears.
Your Blues Jr. rig used only one amp, probably set the same for the entire night - I use the KPA the same way. But, I use morphing to change gain on the amp (Michael Britt Bassman I believe) for distortion. I also use KPA distortion pedals but only for extreme settings.
Compression is your friend. A great front-of-house engineer really helps of course. Check that your output settings for the feed to the PA are set up properly, cab on for instance.
I have had no problem using sounds from sessions live, my big problem was learning all the settings on the amp, the operating system, the GUI, etc. Took months.
Best...H
As others have said, get your FOH sound in the context of the full band playing good FIRST. What the audience hears is the most important part by a long shot.
After that, work on your stage monitoring tone. Most digital mixers have the ability to eq the aux sends so that your monitor mix can be adjusted to sound good to you. If you don't have a digital mixer, then you can use an eq pedal prior to the input of the monitor speaker that you can use to eq your own monitor mix.
As others have said, lots of times (most of the time) what sounds good in head phones while you are practicing by yourself, disappears in the mix OR just sounds bad in the mix.
I also agree with others that my KPA out-front sound is light years better than it ever was with a boutique tube amp and a microphone. One tool I have used to achieve this is the use of a digital mixer (X32 Rack) and a virtual sound check. A virtual sound check records your band in multiple tracks while playing live, then sends those signals back after the fact into the mixer. This lets you sit out front and tweak your individual guitar sound in context of the entire band through the mixer.
Another path to the same thing should be possible by using something called re-amping in the KPA. In this case, you would be using the recording of your raw guitar sound to send it back through the KPA while you adjust the KPA tone until it sounds best in the mix. Note, you would have to use virtual sound check on a digital mixer to get the rest of the band in context, or get the rest of the band to play along with your re-amped sound.
Hope this helps!
