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Monitoring. Can I use IEMs while rest of the band doesn't?


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I'm another very longtime IEM fan, having used them since 2011 and I still believe they are the single best gear investment I've ever made. I posted a lot about IEMs way back when I was getting into them and I'll see if I can dig up a thread or two that might help you.

 

I will +1 everything about having an isolated mix that allows me to have separate volume control over stereo key mix and band mix (with the ability to customize what I'm hearing in the band mix). Like many others, I use a submixer (I have Shure's PSM4) to help with separating the keys and band and my main band uses Midas or Behringer mixers that have an iOS app for dialing in the band how I see fit. We save scenes from various venues and my IEM band mix is mostly "set and forget" at this point based on consistency in venues. Never had a need for "ambient" as I can hear everything I need perfectly well in my IEMs.

 

I use wireless Shure system and the bodypack has a built in limiter to protect my hearing. I use Ultimate Ears custom molded IEMs and have been so happy with these. If you're really serious about doing this, don't skimp on this part of the rig. Each of my bandmates that use IEMs have gradually moved from basic to custom and there's a consensus that you get what you pay for on this part of the rig in particular.

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This thread has more detail on my IEM rig and hope it is helpful.

 

On the question about using IEMs in a band where no one else is using them, the answer is "ABSOLUTELY." I do a few bigger shows each year where I'm basically the only person on IEMs and all I need is a mono or stereo feed from the monitor mix, just like what would be coming to an actual on-stage monitor. I have my rig set up such that I send a stereo XLR to FOH and can receive mono or stereo XLR IEM feed.

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Also, if you're in a really low-grade mixing situation where you can't get a monitor feed back from the board, simply stick a dynamic mic into the 'Mic level' channel (I use a battered old SM58) and point it at the nearest wedge. Not perfect but good enough for most occasions.

Cool, I do the same thing as my last resort solution. Only had to use it once, and it worked ok.

 

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Rolls PM351 is an ideal gadget in this scenario - independent control of your keys submix, mic and monitor send from the desk - shame it hasn't got a limiter.

Yeah, that's why I went with the Rolls PM55P. This one, however, has only two inputs. Works for me, because I don't sing and thus don't need a mic input. But it would be great if the PM351 had a limiter too.

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I haven"t read the whole thread, but these Westones have a filter that (-12 dB) that gives you stage volume but a a greatly-reduced level. This would seem an ideal solution in your situation.

 

https://www.westone.com/store/music/am-pro-30-earphones

 

I"ve been very happy with the three-driver version, but they do make less pricey ones.

 

Apologies if this has already been covered.

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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I haven"t read the whole thread, but these Westones have a filter that (-12 dB) that gives you stage volume but a a greatly-reduced level. This would seem an ideal solution in your situation.

 

https://www.westone.com/store/music/am-pro-30-earphones

 

I"ve been very happy with the three-driver version, but they do make less pricey ones.

 

Apologies if this has already been covered.

 

I"ve been very pleased with these. I wish our leader had something where he could hear us talking to him. I sit near the front of the stage to one side and get a lot of song requests and 'can my friend come up and sing with you guys?' questions. With my old isolating IEMs, I had to take one out to engage in conversation. Plus, I don"t get the feel-like-I"m-in-box sense.

 

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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Here is a passive limiter that I got when I was thinking of using a single mixer both to send my keys to the board and receive my IEM monitor mix. There is always a possibility of sending signals along the wrong path and generating feedback and this seemed to be a way to protect my ears.

 

https://www.limitear.com/products/

 

This would be a useful addition to the Rolls mixer that doesn"t have a built-in limiter. I"m half-tempted to use it anyway. I"m not usually a belt-and-suspenders kind of guy, but I"ve become more cautious with my hearing.

 

I decided to stick with the Rolls PM55P and send my keys via DI. I get a personal monitor mix, but generally can leave bass, drums and lead guitar out as their stage volume is enough with the Westone"s -12 dB filter.

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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Here is a passive limiter that I got when I was thinking of using a single mixer both to send my keys to the board and receive my IEM monitor mix. There is always a possibility of sending signals along the wrong path and generating feedback and this seemed to be a way to protect my ears.

 

https://www.limitear.com/products/

 

This would be a useful addition to the Rolls mixer that doesn"t have a built-in limiter. I"m half-tempted to use it anyway. I"m not usually a belt-and-suspenders kind of guy, but I"ve become more cautious with my hearing.

 

I decided to stick with the Rolls PM55P and send my keys via DI. I get a personal monitor mix, but generally can leave bass, drums and lead guitar out as their stage volume is enough with the Westone"s -12 dB filter.

 

Anything that's sold here in the U.S.?

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You can go headphone out â> limiter â> headphone"s

 

If you use a wireless belt pack, often a limiter is included.

 

If you use wired, you can use this, which has an built in limiter:

 

Fischer amp body pack

 

When I think "in ear" ... I think :

Fischer Amp 2

I´d use it wired ...

 

I wonder why several small mixers are needed when you have this in-ear amp and a mixer for your keys, if that´s necessary at all and depending on size of keyboard rig.

 

A.C.

 

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Here is a passive limiter that I got when I was thinking of using a single mixer both to send my keys to the board and receive my IEM monitor mix. There is always a possibility of sending signals along the wrong path and generating feedback and this seemed to be a way to protect my ears.

 

https://www.limitear.com/products/

 

This would be a useful addition to the Rolls mixer that doesn"t have a built-in limiter. I"m half-tempted to use it anyway. I"m not usually a belt-and-suspenders kind of guy, but I"ve become more cautious with my hearing.

 

I decided to stick with the Rolls PM55P and send my keys via DI. I get a personal monitor mix, but generally can leave bass, drums and lead guitar out as their stage volume is enough with the Westone"s -12 dB filter.

 

Anything that's sold here in the U.S.?

 

I bought one in the US. I"ll see if I can find the seller.

 

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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I

Here is a passive limiter that I got when I was thinking of using a single mixer both to send my keys to the board and receive my IEM monitor mix. There is always a possibility of sending signals along the wrong path and generating feedback and this seemed to be a way to protect my ears.

 

https://www.limitear.com/products/

 

This would be a useful addition to the Rolls mixer that doesn"t have a built-in limiter. I"m half-tempted to use it anyway. I"m not usually a belt-and-suspenders kind of guy, but I"ve become more cautious with my hearing.

 

I decided to stick with the Rolls PM55P and send my keys via DI. I get a personal monitor mix, but generally can leave bass, drums and lead guitar out as their stage volume is enough with the Westone"s -12 dB filter.

 

Anything that's sold here in the U.S.?

 

I bought one in the US. I"ll see if I can find the seller.

 

https://preservear.com/

aka âmisterdregsâ

 

Nord Electro 5D 73

Yamaha P105

Kurzweil PC3LE7

Motion Sound KP200S

Schimmel 6-10LE

QSC CP-12

Westone AM Pro 30 IEMs

Rolls PM55P

 

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Hi!

 

I'm new here. how's your experience with Shure SE215s? I just want to ask a few things that may definitely help me and other members of the forum. Been ignorant so please be patient. Do you guys have any recommendation, suggestions what brand or IEMs is the best?

 

My issues:

- Hyperacusis(noise sensitivity)

- Narrow and weird angled ear canals

 

Thank you and Regards!

 

Tine

 

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I started using IEM's more than 15 years ago. Back then, the base model of Shures that came with the PSM system was the E2. That would be equivilent to the 215's though I think they made changes along the way. Back then I upgraded to the E3 and currently own the SE315's. I'm not sure if the even still make them, but I've used them for years and love them. Now to the point....

 

I have small ear canals. I make up for it in other areas, but that's off topic. The E2's had larger shafts than others, which meant no matter which tips I used and how much I squished them down, I couldn't really get them seated in my ear canals....they just didn't fit. In top of that, the E2's were kind of harsh and not a great sound. The E3/SE315's had narrower shafts and fit much better, giving me better isolation and comfort, plus they had cleaner mids, which for me, was imperative for my vocals. That's a whole other conversation in and of itself. But suffice it to say in MY theory of the best IEM experience, you need good isolation and clean, clear mids.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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For my tribute band, I provide a complete Stereo IEM system for 8 pieces. Regarding this thread, I will only add that our players who have elected ambient buds are all complaining about a significant loss of bass. Maybe that can be partially corrected with individual EQ, but not completely.

 

Open vocal and drum mics provide a lot of stage input. Two (shotgun or 57/58s) pointed at the audience L&R and routed only the IEMs (or recording) provide plenty of 'connection with the audience.'

 

I prefer to dial in ambience rather than having it be forced on me. (Some ambient buds have filters that allow the user to choose amount of bleed in)

Whatever you do, you might need as much as 6-months to get used to IEMs, after which you might wonder why you didn"t make the change years ago.

 

One more observation:

How many of us go through this...

1) try the cheap buds that come with the IEM unit or worse yet, use smart phone buds.

2) after 6 months, buy more expensive universal buds with 2-3 drivers.

3) try a variety of universal bud products searching for something you"ll really be happy with.

4) ultimately bite the bullet and get IEMs molded to YOUR ears.

 

I suggest that people skip as many steps as possible on their path to molded. Buy once, cry once. (Think about how much you are willing to spend on Keyboards or submixers or speakers; do you really want to let price be the focus on the piece of gear that is literally in your ears and the last piece of an otherwise expensive chain of equipment?)

 

Hmmm. Sorry if this sounds pedantic/condescending/preachy. My intention is to help

 

 

Barry

 

Home: Steinway L, Montage 8

 

Gigs: Yamaha CP88, Crumar Mojo 61, A&H SQ5 mixer, ME1 IEM, MiPro 909 IEMs

 

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Sorry late to this thread, but:

1. Shure SE215s will let enough leakage in for you to hear the noisy instruments/amps

Cheers, Mike.

Maybe my ears are already ruined (or we don't play as loud), but this is not my experience. I use the 215's as well, but really want to send the band mix to my ears, otherwise I can't hear it well enough.

Yeah, it depends on how loud the rest of the band is. My experience with the 215's was that the rest of the band has their wedges so freakin' loud that there was so much leakage that i couldn't hear the in-ears without cranking them painfully loud. So it's back to using a wedge and wearing industrial-strength hearing protection.

 

Maybe custom-molded in-ears would be the answer.

 

- Jimbo

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When I think "in ear" ... I think :

Fischer Amp 2

I´d use it wired ...

 

I wonder why several small mixers are needed when you have this in-ear amp and a mixer for your keys, if that´s necessary at all and depending on size of keyboard rig.

 

A.C.

 

 

I looked at that one as well. The reason I didn't choose it, is because of flexibility. I wanted to have the option for an ambient mic (although tbh, I only used that 1 time). And I want to have the option to get a separate click track.

Rudy

 

 

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Use Sensaphonics 3D Auro

https://www.sensaphonics.com/products/3daaro

Each IEM has a microphone built-in to it,

so you are hearing the room as well as whatever

signal you put in.

I run everything through an a ART mixer.

It has main outs (FOH) as well as 2 headphone outs.

My keys go directly in to the mixer and out to the FOH, and to my in ear monitors.

I pick up the mix from the band through the IEM microphones.

I only use this situation when I am the only guy playing through IEMS.

Hammond C3, Leslie 122, Steinway B, Wurlitzer 200A, Rhodes 73,

D6 Clav

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Use Sensaphonics 3D Auro

https://www.sensaphonics.com/products/3daaro

Each IEM has a microphone built-in to it,

so you are hearing the room as well as whatever

signal you put in.

I run everything through an a ART mixer.

It has main outs (FOH) as well as 2 headphone outs.

My keys go directly in to the mixer and out to the FOH, and to my in ear monitors.

I pick up the mix from the band through the IEM microphones.

I only use this situation when I am the only guy playing through IEMS.

I think I've heard about these but never had a web sight, cool, thanks

 

Triton Extreme 76, Kawai ES3, GEM-RPX, HX3/Drawbar control, MSI Z97

MPower/4790K, Lynx Aurora 8/MADI/AES16e, OP-X PRO, Ptec, Komplete.

Ashley MX-206. future MOTU M64 RME Digiface Dante for Mon./net

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When I have a good monitor mix, the ambient sound to the IEMs

is set lower and provides the sense of space and presence

that IEMs lack.

Hammond C3, Leslie 122, Steinway B, Wurlitzer 200A, Rhodes 73,

D6 Clav

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I and a few other band members use IEMs, while the rest use wedges and amps. During practice I put just my keys through the IEMs and can hear the rest of the band fine, but it's not ideal. And I don't sing, but if I did I think that hearing my voice just from the bleed through would be insufficient. For shows I use a Rolls PM55P. There are two inputs. I put keys in one and a mix from FOH in the other. that way I can control the relative volumes. Works great. There are other similar mixers that would work. I like the PM55P because it has a limiter that I use on the FOH mix.

I and a few other band members use IEMs, while the rest use wedges and amps. During practice I put just my keys through the IEMs and can hear the rest of the band fine, but it's not ideal. And I don't sing, but if I did I think that hearing my voice just from the bleed through would be insufficient. For shows I use a Rolls PM55P. There are two inputs. I put keys in one and a mix from FOH in the other. that way I can control the relative volumes. Works great. There are other similar mixers that would work. I like the PM55P because it has a limiter that I use on the FOH mix.

I and a few other band members use IEMs, while the rest use wedges and amps. During practice I put just my keys through the IEMs and can hear the rest of the band fine, but it's not ideal. And I don't sing, but if I did I think that hearing my voice just from the bleed through would be insufficient. For shows I use a Rolls PM55P. There are two inputs. I put keys in one and a mix from FOH in the other. that way I can control the relative volumes. Works great. There are other similar mixers that would work. I like the PM55P because it has a limiter that I use on the FOH mix.

 

So basically would this work?

 

Key largo into 1 input and FOH into other input on Rolls PM55P? Then I would get my keys and be able to turn then up and down independently for my own mix, I would get my vocals with FOH mix, and it has a limiter.

 

So all I would need to buy is the PM55P and the Earphones and I"m set?

 

 

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How many of us go through this...

1) try the cheap buds that come with the IEM unit or worse yet, use smart phone buds.

2) after 6 months, buy more expensive universal buds with 2-3 drivers.

3) try a variety of universal bud products searching for something you"ll really be happy with.

4) ultimately bite the bullet and get IEMs molded to YOUR ears.

 

I suggest that people skip as many steps as possible on their path to molded. Buy once, cry once. (Think about how much you are willing to spend on Keyboards or submixers or speakers; do you really want to let price be the focus on the piece of gear that is literally in your ears and the last piece of an otherwise expensive chain of equipment?)

 

Hmmm. Sorry if this sounds pedantic/condescending/preachy. My intention is to help

 

 

+1 on all this. Getting your ears gooped and sending in the molds and waiting for the IEMs to come back and shelling out for the gear AND the audiologist is stupid-expensive... until you realize that there's no "stupid" in it.

 

The way I used to phrase it in the magazine was:

 

Everything you will ever do or experience in the world of music -- no exceptions -- comes to your brain's pleasure center through your ears. Placing anything, ANYTHING, as a higher priority than what puts (the right kind of) sound in your ears, is a false economy. This holds for IEMs on stage, earplugs off stage, headphones and headphone amplification, studio monitors, AND ESPECIALLY LISTENING ROOM ACOUSTIC TREATMENT WHY AM I YELLING.

 

Dr. Mike Metlay (PhD in nuclear physics, golly gosh) :D

Musician, Author, Editor, Educator, Impresario, Online Radio Guy, Cut-Rate Polymath, and Kindly Pedant

Editor-in-Chief, Bjooks ~ Author of SYNTH GEMS 1

 

clicky!:  more about me ~ my radio station (and my fam) ~ my local tribe ~ my day job ~ my bookmy music

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Agree, Moe. Go with 215s initially, then go molded. Just skip the cheaper ones and the ones between the 215s and molded, IMHO.

Barry

 

Home: Steinway L, Montage 8

 

Gigs: Yamaha CP88, Crumar Mojo 61, A&H SQ5 mixer, ME1 IEM, MiPro 909 IEMs

 

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+1 on getting nice molded IEMs once you know you like them... but nothing wrong with starting out on some Shure 215s first to see if IEMs are going to work for you.

 

So,

Key largo into 1 input and FOH into other input on Rolls PM55P? Then I would get my keys and be able to turn then up and down independently for my own mix, I would get my vocals with FOH mix, and it has a limiter.

 

So all I would need to buy is the PM55P and the Earphones and I"m set?

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+1 on getting nice molded IEMs once you know you like them... but nothing wrong with starting out on some Shure 215s first to see if IEMs are going to work for you.

 

So,

Key largo into 1 input and FOH into other input on Rolls PM55P? Then I would get my keys and be able to turn then up and down independently for my own mix, I would get my vocals with FOH mix, and it has a limiter.

 

So all I would need to buy is the PM55P and the Earphones and I"m set?

This is my exact setup and works as you mention here. Shure 215s and the Rolls PM55P. My stereo keys in the 1/4" input & the monitor mix coming into the XLR â both inputs have independent volume controls. Works fine.

 

I was wary of spending money on IEMs then finding out I hated them, so I started out with the MEE M6 Pro. The next-gen model is less expensive than what I remember paying, and they claim to be improved over G1. Read the reviews â for the price ($40!) I don't think you can beat these. I may get a pair to use as a spare â or make them my main IEMs & keep the Shures as spares. They sound fine to me and come with a bunch of eartips including the Comply memory foam which I think are more comfortable than silicone.

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+1 on getting nice molded IEMs once you know you like them... but nothing wrong with starting out on some Shure 215s first to see if IEMs are going to work for you.

 

So,

Key largo into 1 input and FOH into other input on Rolls PM55P? Then I would get my keys and be able to turn then up and down independently for my own mix, I would get my vocals with FOH mix, and it has a limiter.

 

So all I would need to buy is the PM55P and the Earphones and I"m set?

This is my exact setup and works as you mention here. Shure 215s and the Rolls PM55P. My stereo keys in the 1/4" input & the monitor mix coming into the XLR â both inputs have independent volume controls. Works fine.

Functionally, this is my set up too (same hook up as Reezekeys), but I use a different keys mixer and different IEMs. Works great. I use the headphone output of the mixer into the PM55P 1/4" input - it seems like you'd have to do it a little differently with the Key Largo. Also, you won't be able to independently adjust the volume of your own vocals in your IEMs -- don't know if this would be a problem for you.

 

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