This Is What's Actually Playing In Singers' Earpieces
-
Never really thought about it. I always just thought they helped block out the audience noise so they could hear the band better.
some musicians hear what’s known as a “click track,” which is sometimes overlain on their song ― and sometimes heard as-is.
The singer stitched a TikTok video that said “POV: you’re listening to Taylor’s in-ear monitor during Cruel Summer,” wherein a countdown and a loud clicking sound drowned out most of the music.
Alex said that when her friend asked if this was really what singers hear on stage, she replied, “Yes, it is.”
“The purpose of the click trick is so that all the musicians on stage together can play in time with each other,” she says ― this applies to dancers, too. It essentially works like a metronome.
Sounds... a bit annoying?
Apparently, it is!
“When I just started doing shows, it was the most annoying sound I’d ever heard in my life,” Alex said. But over time, she says she got used to the sound.
Every musician on stage has their own channel, too, so “every person on stage can have a different mix,” she added. “Someone might have more vocal, and someone might have more drums, for example.”
Despite being a little irritating at first, the singer shared that when you’re on stage, it’s “the most important thing to have in your ears,” adding that they count in everyone from the drummers to the singer.
https://www.huffingtonpost.co.uk/entry/singer-earpieces-click-track_uk_658d424ee4b0cd3cf0e49928
-
I’ve created and used multiple click tracks, and been on a headset while others used it. They aren’t as annoying as the video presented in most cases.
-
Even at church, everybody plays with a click.
-
@Jolly said in This Is What's Actually Playing In Singers' Earpieces:
Even at church, everybody plays with a click.
Had a conversation with my childhood pastor the other day, (and a guy that I thought the Gaithersburg were a little on the edge) about the state of worship music these days.
I led a praise team at our old church. We mostly ran anthems. The general rules I ran with -
-
I don’t care how incredibly gifted the vocalist is, we’re running a key and a range that is going to be comfortable for +70% of the congregation to sing along with.
-
Want to vamp? Great. On the last chorus, once we’ve seen the congregation is comfortable with the piece and can carry the melody on their own. Oh, and the sound guy has orders to cut your gain by 50%. You want to solo? Then sign up for the solos during offertory, this is congregational singing, meant to get the congregation thinking about the words and the message and fully participating. Not listening to your vocal gymnastics.
-
The songs had to actually have a doctrinal message. Tok much of that stuff is just a bunch of religious sounding phrases with no actual message. I mean, what is the message in Days of Elijah? There’s none. Also, the songs have to be recognizable. You had to be able to feel where the melody is going. We want the congregation engaging, not half heartedly mumbling under their breath.
-
