Earworn Monitors: All Foldback, No Feedback (Part 2)
One man’s view - A short take on why they work so well
|
|
 |
Bill Leabody has worked as a Tour Production Manager and/or Tour Accountant for such diverse clients as David Gray, Depeche Mode, Lord Of The Dance, Supertramp, Sex Pistols, Duran Duran, Dwight Yoakam, Simple Minds, Tina Turner and Peter Gabriel. |
From 1978 - 1983 he worked as a technician/road manager looking after both touring and studio work for the following acts; The Pretenders, U2, ABC and Stiff Records artists such as Wreckless Eric, Larry Wallis, Elvis Costello, Ian Dury and the Damned. These days, Leabody has expanded his client list to include corporate clients such as Taco Bell Invitational and Nissan Motor Vehicles.
In 1992 I was, as is most Englishmans’ want, sitting in a pub in London.
With me, was Chrys Lindop; a good friend, who had been my Sound Engineer
for a number of years working mainly for The Pretenders. Lindop was explaining
his new business, Garwood Communications, and the product he was manufacturing
- wireless earworn monitors (EWM).
We spoke for a long time, and by closing time, he had me convinced that
this technology was going to be the future of live monitoring. I knew,
even then, that he had come up with an idea that was going to revolutionize
the sound business.
BACK IN THE USA
On my return to the States, I found that distribution of the product was
limited and that most Performance Audio companies were not prepared to
take a risk on what was an expensive, and as yet unproven, concept. My
belief in the product was emphatic and hence Leabody Systems Inc. was
formed.
Nearly every artist I’ve worked with desires a sonically consistent performance
environment, night after night. Earworn monitors create such reliable
performance. Venues always change, but earworn monitor mixes sound the
same regardless of the venue or stage location.
As a sound guy turned Production Manager, I immediately understood this
new technology would change sound reinforcement for the better. Having
worked for Dwight Yoakam, I had some country music connections and approached
John McBride of MD Systems with the idea. John too saw the benefits, and
together we serviced many of the artists in Nashville.
What was it that they saw? I believe their interest was mainly cost driven.
At that time, not many Nashville artists were carrying big productions.
As such, any space savings was a bonus. When we explained they could carry
an entire monitor system in a rack and that they did not require large
amp racks and wedges, earworn monitors gained their foothold. Restless
Heart was our first client and David Baker, their then monitor engineer,
remains a client and a good friend.
A recent national survey taken in observance to Labor Day revealed that
single thing most americans disliked about their jobs was the “lack of
control”. In regards to this workplace complaint, singers and musicians
are no different than the rest of us.
Sure, musician are socially unique, some might say peculiar. Nonetheless,
nearly every musician shares the universal human desire for control. A
reliable cue mix minimizes distractions so performers can put everything
into their performance.
On-stage, there is no greater personal control option than earworn monitors.
It reminds the players of the comfortable consistency of recording studio
headphones. This is probably why every artist, no matter how initially
skeptical they were, seldom turn back once they try ear worn monitors.
IF IT'S TOO LOUD, IT'S TOO LOUD
Everyone has heard the generational battle-line slogan “if it’s too loud
then you’re too old”. The real truth is “if its too loud, its too loud”.
Sadly, we work in a business where this occupational hazard is quite often
taboo, but this clear and present danger should not be taboo.
The problem is that “payback” for dangerous stage levels comes years after
the fact. By then, the day is gone and the damage is done.
Admit it. You have been there. The singer wants more drums, then the guitarist
wants more guitar. This means the singer can’t hear his vocal, so he/she
asks for more. This unhealthy cycle eventually repeats itself until the
stage is a cacophony of noise at ridiculous dB levels.
The result is that the artists are quickly making themselves deaf, while
the FOH Engineer cannot freely mix the show due excessive stage levels.
Earworn monitors can change this. The big payback is that every performer
can hear what he or she wants, at the level they want, without affecting
FOH.
Not to go off on a rant but, it is the audience, who Performance Audio
pros should be concerned with. The paying clientele should experience
the best show, with the best mix possible. It is widely recognized that
modern audiences have become very savvy about mix quality.
Modern audiences understand good sound, because they already have great
personal systems in their cars and in their homes. It is easy for expensive
box seat patrons to spot the difference between the digital, specifically-tuned
CD playback they heard in their cars on the way to the gig and a too loud,
poorly mixed, tonally unbalanced live gig.
The big payback is that every performer can hear what he or she wants,
at the level they want, without affecting FOH.
To ask anyone for sixty bucks (forty quid) and often more, and not give
them a premium listening experience is a big time, long term business
mistake.
This is one reason that baby boomers are hesitant to leave the house and
visit the shed. (Editor’s note: If you don’t believe it, note that
summer concert revenues were down across North America this summer.)
As professionals, we can, and should, pay more attention towards providing
the best possible sonic product. Meanwhile, artists, no matter what age,
should be concerned and proactive in regards to their hearing health.
DRAWBACKS?
Are there specific drawbacks to earworn monitor systems? The complaint
we hear most often is that certain artists feel disconnected with the
audience. This problem is especially acute for artists who frequently
interact with the audience.
There are two common solutions to this complaint. The first, used by many
artists such as Chris Isaak, is to wear one EWM only.
This approach allows Isaak to hear a mix in one ear, which is primarily
for his vocal, and hear the band and the audience in the other ear.
Obviously, this is not ideal for hearing protection, but as we mentioned
earlier, each artist is different and this method seems to work well for
him.
The second method is to put up several ambient audience mics that are
then fed back into the mix. While not providing an identical “sense” of
the audience, this technique does “open” the listening experience and
bring the audience back into the cue mix.
We recently began development on an acoustic earpiece using a dual driver
monitor, that allows some ambient sound to directly reach the performer’s
ear. This technique, combined with a drum shaker, is especially well received
by drummers.
One such happy drummer, Christian Eigner from Depeche Mode, has been raving
about the results. Eigner is especially impressed that he gets a tight
cue mix and can simultaneously hear his drum kit’s ambient sound. This
product remains in development, but I am very excited about it’s future
deployment.
TO SUMMARIZE
Leabody Systems has been in business for over eight years. My wife Lauren
Woodward runs the office and handles all the sales client contact.
Lauren’s management skill has allowed me to continue to tour and interact
with artists. This business model has been extremely beneficial to the
running of our company. From our touring perspective we understand, first
hand, what “I need it by tomorrow” means.
We have had many proud moments, including being asked to supply the earworn
monitor systems for the Olympic Games opening and closing ceremonies in
Atlanta, a task we undertook without a problem, despite many performers
being hundreds of feet from the source.
These days, Shure Brothers range of products is, in our view, the best
now available for the touring industry. Their 600 and 700 ranges provide
what working bands need.
We’re especially proud to have been chosen by Shure as their preferred
West Coast dealer. This invitation has allowed us to expand our client
base and offer advice and product information to a diverse array of bands.
Leabody Systems remains committed to in earworn monitoring and we really
look forward to company expansion into a West Hollywood office during
2002.
This office will contain a studio where artists can come in and try the
products and get impressions for ear molds done on the spot.
Bill Leabody can be reached by e-mail at bill@leabody.com
September/October 2001 Live Sound International