My Cheap In-Ear Monitoring Solution

You've all seen these great systems for in-ear monitors. They're fantastic and the even cooler thing is that they WORK. They reduce the overall volume and allow you to focus on making music.

Systems run at around $300 - 2000 per transmitter / receiver / headphone set depending on wireless needs (2 - 8 channels), mixing capability built into the base unit, and interference handling. I have heard mixed things about baseline units, basically that if more than two people are using them, there are issues with interference and reliability.

When I was having trouble hearing myself, I figured it was time to invest in a better way to hear myself.

But problems I've had with in-ear solutions are:

• They are too expensive for most Catholic bands
• Are dedicated to individuals, so when you have higher turnover in your band, it can be problematic
• If you add someone to the band at the last minute and they don't have the monitors, they can't participate
• A drummer isolated from the room doesn't know how loud they are in the room.
• They can be a mixing nightmare as the sound-man needs to tend o individual mixes.

So, I actually come up with a solution that is inexpensive, and simple to use. It doesn't solve all of the above problems, but it does drop the cost.

I had to give up on wireless to keep the cost down. I sit at a piano. It's not a problem for me to be tethered. Same with the drums. I can even do it on guitar and have had great results.

So, what do I use?

I have a Rolls PM351 Personal Monitoring Station (~$99), Shure e2c in-ear headphones (~$99), and a headphone extension cord (~$8). This is probably the cheapest set-up I have seen yet.

The PM351 allows me to plug my mic and an instrument in as well as a monitor. My mic then has a THROUGH port to go to the sound system, as well as the instrument (which comes out as balanced, so I don't need a separate DI box!). The sound engineer then builds a mix like he normally would, and I take my monitor mix from the same mix as the singers. I can then blend my own voice and instrument with theirs, adjusting it up or down. My mixer some something interesting with phase inversion that allows me to adjust my own voice independent, even if my voice is there in the monitor mix!

The end result is for $207 + tax, I have a personal in-ear monitor system that works for my voice as well as my instrument. I have also used the Rolls PM51 which is the same as the PM351, but without the instrument input for about $59. That means you can do this for a singer for only $167 + tax.

There are tons of expensive systems out there that will run circles around the proposal I have here, like the AVIOM system.

I'm talking about a cheap solution.

I suppose it might be cheaper just to tell the drummer what I think about his volume control... ;-)

Warm-Ups!

We all hate that cacophony that preludes a rehearsal or performance the warm-up. The incoherent din that precedes a all that we do - that gobbledygook of noise is actually all NECESSARY.

This morning, I got to play along with St. Jude's again on the song, "Don't Wait 'Till the Battle Is Over". It was tons of fun. I was just playing the one song at the ned of mass. The problem is I haven't been playing piano every week, and while it hasn't made me rusty per-se, it has made it so my muscles are not always ready to go on notice.

I got a 2 minute warm-up with the choir before mass. I then sat out for the rest of mass to sit with my family. When the choir came to the final song, I came up and played. It's an energetic setting made buy the Total Experience Gospel Choir in Seattle. It was awesome and it rocked (can a song" Gospel"?).

The issue I had was that over the course of this 5+ minute song, my forearms began to hurt something fierce. I've hit this more and more recently where my arms just aren't getting the exercise they used to. When we got to the end of the song, I was just in pain. I made it, but if I had had to go on to play something else, it would have been very difficult and would have affected my playing.

So, what am I getting at?

Before you start rehearsal or mass, take a few minutes to warm up. We all like the silence and want to communicate, but we as musicians need time to warm up our muscles. This is no replacement for rehearsal during the week, but it's still important to get the blood flowing to those places where we need it before we actually need it. This is not an opportunity to launch into the most daring work of the day.

• Drums - practice a couple rudiments
• Bass & Guitar - Work on a couple scales together
• Piano / Keys - Warm up the singers
• Singers - Warm up with a few scales and vocal exercises.

Each one of these deserves an article in an of itself.

Seriously, Leave More Space

We all want to play.  We all want to praise.  We all want to praise and pray.

Good.

We all want to praise and play together. That's great, but not always at once.

As musicians, being professional means leaving LOTS of space. My high school orchestra conductor at Padua Franciscan H.S. in Parma, OH, Mr. Wayne F. Miller, put it best: "Never, never, ever play a rest."

This is more easily done with thorough composed music, especially on my bass clarinet with only the random whole-note to add.  When faced with chords charts and a band full of ideas and improvisational chops, our ingenuity quickly turns into noise every week on every song. 

Be the big, brave one and sit out until the final refrain, or the bridge.  Let the piano or the acoustic guitar do all the heavy lifting for the entire first verse. Let only the drums and bass play on the second verse of "Let the River Flow".

You'll hear the vocals better.

You'll sound more like the CD.

People will hear themselves better.

You'll be able to praise better.

You'll be able to clap your hands and lead by example!

And when you come back in, the professional difference you make by both playing and not playing will be obvious!

The Big Announcement

So, in light of my last post (in June, no less), I will be continuing in music ministry, but I will be departing St. Vincent de Paul in Federal Way. Balancing family, a full-time job (not at St. Vincent's), and directing music ministry so far from home is (as expected) hard to do. I need to spend more time at home, and for the first time I can honestly say that I am fulfilled in my calling as a husband and father. I'll continue in music ministry, helping out for a little while in other places, hoping to build community a little closer to home.

It's been a long, hard decision, but it's a welcome change of pace. I love St. Vincent's, and it's likely I will continue to help out on little things.

For those at St. Vincent's, my (current) last day is Nov. 25th. We are looking for someone to take over for me for the weekly direction and planning for the music minsitry. You can contact me or the Youth Ministry office.

I will definitely continue to be in music minstry - it's been great to be afforded the ability and contacts that transcend parishes in the last couple years, so I'll likely be filling in and helping out here and there. I will likely continue this blog, since I like planning and helping folks get their groups in order for a vibrant, Catholic worship. I may direct again if the Spirit leads me to the right opportunity (I'd love to do this full time someday).

On to the relevant article:
That said, there are some dos and don'ts for changing hands in music direction:

• As a new music director, always have someone else ready to take over in your absence. I know I've got a couple of them.

If you haven't done this, it's too late. New music directors, take note. There is no place for ego in music ministry, especially in positions of authority. Delegate tasks of importance and you will find key people like your effective organizers, cheerleaders and your spirit-filled folks.

• As a departing director, once you leave, though it may be tempting to "hang out" and "help out". Don't do it.

By "sticking around" to ease the transition, you may likely be hindering the progress of the new director to establish themselves. You may wish to bring someone into your group and groom them for the position, but once they take over, it's got to be their game - no one should look to you (the departing DMM) to second guess their opinions or directions. It's hard to be professional about something we all love and care about so deeply.

Take an example of a singer who disagrees with the selections of the new director. Being a personal friend of the old director, he/she could call on the old director for their opinion. The old director should see the professional conflict here and do his/her best to just stay out of it. Your opinon as a former director will be respected and as a result may compromise the group in your absence.

• As the person hiring a new music director, it's very tempting to get a "quick fix" in place. You want a situation that is as stable as possible over the long-term.

What the person in charge of hiring should do is:

• Put together a job description and post it to your local Catholic new source, the ym.lifeteen.com, and (of course) the parish bulletin.

The best candidate may be led to you by the Spirit. Assume the Spirit needs you to advertise. I got my job this time because someone randomly put a posting on the LIFE TEEN website 10 years ago, and I was debating relocating to Seattle. It sealed the deal for me that the Lord wanted me here.

For the job description, include all hours and events they'll be expected to put in, all the tasks they'll be required to do (i.e. find, teach and direct musical instruments and vocals), clearly state competencies expected (Liturgy, voice, piano/guitar), and an indication of compensation. Be clear if this is a full-time or part time position.

• Be patient.

Hopefully you have at least four weeks to find a replacement. It will probably take longer. I have seen the tragedy of impatience getting the better of a couple Youth Ministers who've hired the first person who came through the door that seemed "good enough". So much more willing talent is out there than we probably realize. I've missed opportunities in my own backyard because parishes fail to advertise properly, sending away the better ministers in their own parish elsewhere due to impatience.

For myself, as a person responsible for assisting in the hiring hiring at a major corporation, I'd always want to have two or three candidates to choose from.

God bless you in your ministry! With the freed up schedule, I may see you all around a little more!


(c) 2007 by Art Leonard. All rights reserved.

Space – the scary frontier

As musicians, we often feel it is our job to make noise, after all who can argue when the Bible says, "May a joyful noise unto the Lord." (Ps. 100:1).

The thing is, not playing and not singing often takes much more discipline than playing all the time. As my orchestra teacher used to say, "Never, never, ever play a rest," we too must leave space at the right times.

Take the song "Sacred Silence" as recorded by Tom Booth or Jenny Pixler (available through www.spiritandsong.com). It is a lovely, sparse song that grows, ebbs, flows and resolves. At almost no point is the entire band playing at the same time. Yet, the beauty and completeness is achieved with so little.

The same is true for more upbeat songs, like "Trading My Sorrows" (Darrell Evans). The verse doesn't need a lot of things going on. You might find more people sing when there is more space for them to do so. For example, next time your team plays this song, try using just drum and bass on the verse along with the vocals. You might find the space is just what the congregation needs to find a home in the song.

The congregation, just like us as musicians, has the desire to be needed in worship. We should do our best to give them the space to feel desired. We, as musicians, should provide holes for them to fill in, like the name tags: "My Name Is:
".

As musicians, we all have egos. Just admit it. It may be checked at the door, but it is still there waiting to come out. We should all have the ears and guts to know when we don't need to play. And it does take guts. Even more so, it takes professionalism I

Over the weekend I had the honor and privilege to play a mass with Jesse Manibusan, David Yackley, Jackie Francois, Paul Nuyen, Becky Rameriez, and Rufino Zaragoza (among others). David and Rufino, both gifted, talented pianists traded off on piano, Jesse played where needed, and not all singers sang on everything - and it was awesome and beautiful. All had the professionalism and talent to demonstrate:

1. the worship experience is more important than for them to hear me play
   
2. I am secure enough in my skill that I don't need to fill the entire space with my notes for me to be satisfied with my contribution.
   

If your team isn't carrying these notions every week, you might think about some of the following questions:

• Have we reinforced our team's skills with compliments or with criticism?
  
• Have we made clear the need for space in our music? (Does your team know it's okay to not play?)
  
• Are we personally comfortable enough to let go and not play, and yet still feel valuable to the worship experience?
  
• Is our team's working environment competitive or collaborative when it comes to dividing arrangements?
  
• Do we (as directors) always rely on the same people to fill the same roles, or do we also provide space for others to grow?
  

God bless you in your ministry.