IEM best practices

Well not for everyone: our bass player couldn't get used to them so monitors through a wedge. Which I sort of understand because those low bass tones are more felt than heard.

I’m a long-time user of FutureSonics MG6 IEMs, and one of the interesting things I’ve learned is that the ultra-LF capability of the FutureSonics single dynamic driver (combined with the contact of the hard plastic custom mould against the bone structure around the ear canal) does indeed impart the psychacoustic effect of “feeling” the low end. At approx $1K they’re not cheap but boy, do they work for bass players and drummers (and just guitarists like me)!
 
Yeah but how is everyone else going to hear you if you're only coming out of your own IEMs? Is there a pa?
Yes, I would hope there would be a PA, or there is no way to hear the vocals. Any PA that you run vocals through can easily accommodate the frequency range of a guitar as well.
 
I’m a long-time user of FutureSonics MG6 IEMs, and one of the interesting things I’ve learned is that the ultra-LF capability of the FutureSonics single dynamic driver (combined with the contact of the hard plastic custom mould against the bone structure around the ear canal) does indeed impart the psychacoustic effect of “feeling” the low end. At approx $1K they’re not cheap but boy, do they work for bass players and drummers (and just guitarists like me)!
Truth. Good quality IEMs should be thought of just like good quality speakers. If you want the boom, it will cost more.
As far as bass players not digging it, I get it. I play bass, guitar and drums. It IS different. But different doesn't mean bad. It takes a commitment to getting used to it. And if he sticks with it, he will eventually be glad he doesn't have those cymbals ringing right next to his unprotected ears.
Think of it like writing a term paper in cursive. Yes, maybe there is some nostalgia for the beauty of the "old way." But it's way better to type and edit the paper on a computer. It just takes a little getting used to.
 
Our band has been using isolating IEMs for the last 5 years or so.
The 3 of us up front use wireless feeds from our X32 compact so we each get a personal IEM mix, our drummer uses a wired setup via the Behringer P-16 personal mixer, as he likes to tweak his own personal IEM mix.

We still use backline speakers for the folks in the front row and for the guitar resonance and feel that we missed too much.

What we use to combat the isolated feel of not being able to hear the room is mount 2 condensing mics on each FOH stack, then feed this into two channels on the X32 (in phase reverse mode) so each member can dial in their prefered amount of room sound.

The phase reverse cancels out the FOH feed and it cancels out the backline as it's mixed with the normal phase other stuff for the IEM mixes.
We don't send the room mics back to the FOH sends of course.
 
The phase reverse cancels out the FOH feed and it cancels out the backline as it's mixed with the normal phase other stuff for the IEM mixes.
We don't send the room mics back to the FOH sends of course.

Interesting. Have you A/B’d the actual sound of the “ambient” mics with normal/reverse phase? While I can imagine there might be a minor tonal shift by flipping them OOP it’s hard to envision “cancelling” much of anything given the various source distances (FOH, Backline) involved — and the fact that’s there’s two mics (for IEM “L/R” use, I assume).
 
No interest in blues jams. But we use headphones for practice, same thing just on your ear, not in it. I have 4 sets of headphones, and 4 mics, roland e-kit, my gear and a pod for bass tones. We can practice whenever we want, no real noise other than vocals and some smacking sounds from the e-kit.
We do the same thing. Headphones NO Amps. Everyone direct; E-Drums, AxeFX3, Bass and Vocals. Went to IEM's for live shows and man what a difference. At first everyone was opposed to using headphones at practice. Then they got used to the pristine sound and now swear by them. Same thing when we went to IEM's live. I was the biggest hold out there. Finally got fed up with depending on a sound person for a mix and made the jump. It is truly day and night same mix every show. Finally I can just become the music and perform limitlessly. Well to my abilities anyway.
 
Excellent info in this thread with a variety of personal experience.
I appreciate all the input and have learned from reading,

We have 5 guys in the band, so 5 stereo mixes. Everyone in the group needs to be using ears.
Our X32R, 16 channel snake, and rack mounted router makes things very easy. We use a bunch of channels all together, including 2 stereo guitars, bass, stereo keys, like 11-12 drum channels, 5 vocals, click, etc…sometimes a few channels are not for all shows.
So, FOH gets a “complete” split of all our channels and that mix is completely separate from our ears mixes. FOH can mix however they like and we aren’t effected at all.
Almost every channel is mixed into my personal stereo in-ear mix. Some things are panned.
My vocal and my guitar sit a bit above the “perfect” CD mix of the band, for my personal taste and so I can hear myself without EVER turning up. This was mentioned earlier and is KEY, consistent output levels from EVERYONE.
We then have a consistent mix from night to night and venue to venue. I rarely have to change much. Although if I do, we each have iPads at sound check and that are available during the show, where we can each control our individual mixes. Very seldom does anything need to be done during a show. If the mix is good at sound check, it’s usually golden.

As far as the system, we all use MiPro 909 Digital systems with one external fin antenna for ALL of us. For buds, it depends on personal preference. I have tried a bunch, yet currently I use quad driver custom molded ears from DreamEarz for as close to an isolated mix as possible. Brilliant!!
As Cooper said, usually there’s no need for cabs or wedges onstage. I have brought cabs onstage once or twice at the request of the venue. It was for guitar volume coming off the stage…mainly because they had no front throw monitors for the crowd that was close to the stage. This is not usually an issue, as more and more bands have gone direct and moved to quiet stages, so having some front throw is pretty standard for most PA companies,

In the end, I love that I can hear normally after the show is over.
I don’t have any problem with how the band sounds. My mix is excellent.
I just feel that in-ears are a blessing. I can’t imagine a reason to go back to wedges and loud stages where it’s challenging to hear everyone, including yourself.

Lastly, if something about using in-ears doesn’t gel right away, don’t give up!! It’s really worth it when you get it right.
 
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Excellent info in this thread with a variety of personal experience.
I appreciate all the input and have learned from reading,

We have 5 guys in the band, so 5 stereo mixes. Everyone in the group needs to be using ears.
Our X32R, 16 channel snake, and rack mounted router makes things very easy. We use a bunch of channels all together, including 2 stereo guitars, bass, stereo keys, like 11-12 drum channels, 5 vocals, click, etc…sometimes a few channels are not for all shows.
So, FOH gets a “complete” split of all our channels and that mix is completely separate from our ears mixes. FOH can mix however they like and we aren’t effected at all.
Almost every channel is mixed into my personal stereo in-ear mix. Some things are panned.
My vocal and my guitar sit a bit above the “perfect” CD mix of the band, for my personal taste and so I can hear myself without EVER turning up. This was mentioned earlier and is KEY, consistent output levels from EVERYONE.
We then have a consistent mix from night to night and venue to venue. I rarely have to change much. Although if I do, we each have iPads at sound check and that are available during the show, where we can each control our individual mixes. Very seldom does anything need to be done during a show. If the mix is good at sound check, it’s usually golden.

As far as the system, we all use MiPro 909 Digital systems with one external fin antenna for ALL of us. For buds, it depends on personal preference. I have tried a bunch, yet currently I use quad driver custom molded ears from DreamEarz for as close to an isolated mix as possible. Brilliant!!
As Cooper said, usually there’s no need for cabs or wedges onstage. I have brought cabs onstage once or twice at the request of the venue. It was for guitar volume coming off the stage…mainly because they had no front throw monitors for the crowd that was close to the stage. This is not usually an issue, as more and more bands have gone direct and moved to quiet stages, so having some front throw is pretty standard for most PA companies,

In the end, I love that I can hear normally after the show is over.
I don’t have any problem with how the band sounds. My mix is excellent.
I just feel that in-ears are a blessing. I can’t imagine a reason to go back to wedges and loud stages where it’s challenging to hear everyone, including yourself.

Lastly, if something about using in-ears doesn’t gel right away, don’t give up!! It’s really worth it when you get it right.
I think the hardest thing I had to get used to in our current setup is not having an acoustic drum kit on stage. I always, in the past, depended on being able to hear and feel the drums on the stage as well as the bass. When I do bring a cab onstage it is for the amp in the room feel and feedback control, that's it. I use a 4x12 Mesa Rectifier cab but it is loaded with the Celestion X200's and the 150M "FRLR" speakers. Sealed, not ported, as Celestion would suggest. After the issue with the GT1000FX going out during the show and the sound person giving me a feed into a stage monitor and working fine I don't really see a need for fancy FRFR cabs or big guitar cabs. The sound they produce is not as important as you would think as long as an "Amp in the room" feel can be acheived for control purposes. Even with the 4x12 cab I didn't focus on what it sounded like nearly as much as I focused on the FOH and IEM sound. Truthfully the cab always sounded great no matter what. So I didn't have to focus on making it sound just like my IEM's or FOH send. I did, for a time, send FOH 2 direct (stereo) and also we would mic the FRFR 4x12 cab with 2-SM57's. That added a massive girth to the guitar sound but I only got to do that at one club here in town. Absolutely wondrous sound.
 
Excellent info in this thread with a variety of personal experience.
I appreciate all the input and have learned from reading,

We have 5 guys in the band, so 5 stereo mixes. Everyone in the group needs to be using ears.
Our X32R, 16 channel snake, and rack mounted router makes things very easy. We use a bunch of channels all together, including 2 stereo guitars, bass, stereo keys, like 11-12 drum channels, 5 vocals, click, etc…sometimes a few channels are not for all shows.
So, FOH gets a “complete” split of all our channels and that mix is completely separate from our ears mixes. FOH can mix however they like and we aren’t effected at all.
Almost every channel is mixed into my personal stereo in-ear mix. Some things are panned.
My vocal and my guitar sit a bit above the “perfect” CD mix of the band, for my personal taste and so I can hear myself without EVER turning up. This was mentioned earlier and is KEY, consistent output levels from EVERYONE.
We then have a consistent mix from night to night and venue to venue. I rarely have to change much. Although if I do, we each have iPads at sound check and that are available during the show, where we can each control our individual mixes. Very seldom does anything need to be done during a show. If the mix is good at sound check, it’s usually golden.

As far as the system, we all use MiPro 909 Digital systems with one external fin antenna for ALL of us. For buds, it depends on personal preference. I have tried a bunch, yet currently I use quad driver custom molded ears from DreamEarz for as close to an isolated mix as possible. Brilliant!!
As Cooper said, usually there’s no need for cabs or wedges onstage. I have brought cabs onstage once or twice at the request of the venue. It was for guitar volume coming off the stage…mainly because they had no front throw monitors for the crowd that was close to the stage. This is not usually an issue, as more and more bands have gone direct and moved to quiet stages, so having some front throw is pretty standard for most PA companies,

In the end, I love that I can hear normally after the show is over.
I don’t have any problem with how the band sounds. My mix is excellent.
I just feel that in-ears are a blessing. I can’t imagine a reason to go back to wedges and loud stages where it’s challenging to hear everyone, including yourself.

Lastly, if something about using in-ears doesn’t gel right away, don’t give up!! It’s really worth it when you get it right.
Hi, how is your routing in AXE. Which signal do you send to FOH and which goes back to the IEM. If you use another cab on stage, which signal do you take, which outputs are used out 1,2 or 3?
 
Interesting. Have you A/B’d the actual sound of the “ambient” mics with normal/reverse phase? While I can imagine there might be a minor tonal shift by flipping them OOP it’s hard to envision “cancelling” much of anything given the various source distances (FOH, Backline) involved — and the fact that’s there’s two mics (for IEM “L/R” use, I assume).
Actually, no we've not A/B'd the ambient mics, IIRC I read about it on the X32 forum, they suggested to do it with the phase reversed, it works so we just stuck with it. Technically its not going to truly cancel it as you say, but it seems to deal with it in a way that all we can hear is the crowd and a bit of ambience from the room. It's good when joe public shouts something from the floor, otherwise we'd have to lip read :)

Also yes the ambient mics are hard panned L+R so we can detect where the voice is coming from with some decent accuracy
 
A few tips from almost 15 years of playing with IEMs:

The center of your mix is occupied with kick, snare, bass, click, vocals, talkback mics, etc, so for the most clarity you need to clear out as much from the center as possible. The best way to do this is run guitars, keys, overheads, crowd mics, and any backing tracks in stereo and hard pan them all. I’ll even pan click and acoustic if there is one to opposite sides about 11 and 1.

For guitar, if you only have one amp with stereo wet effects your dry will still be centered, so to “fix” this I run two amps dialed in with similar headroom and gain structure hard panned. On top of this, I use the enhancer block in classic mode to really push my guitar out super wide. This allows me to hear my guitar much more easily without just turning myself way up because I’m not competing with the other instruments in the center of my mix. I also high pass on the cab block at 80-100hz, which helps clean up the low end of my IEM mix if I’m getting a pre-fx send from FOH or the monitor console. If FOH is mono, I tell them to just use the left side of my signal in FOH, so there’s no phasing issues.

If you want to pan something that is running stereo (most commonly a second electric guitar), don’t use the pan controls. Leave them hard panned, but just bring down the volume of the opposite side. This applies to FOH as well. This way nothing is getting summed to mono in your mix by panning both channels into the same side, you’re just changing the relative levels of the left and right channels. In the studio world this is referred to as “balance” as opposed to “panning.”

Do not play with one ear out. When we hear something with both ears we perceive it as +6dB louder, meaning when you take one ear out the tendency is to crank up your IEM receiver to compensate. Playing a full set like this can do some permanent damage to your hearing.

If using crowd mics, use a ducker keyed by something that would indicate when the band is playing, like an aux send of the full band mix. Slow attack/release. This way you don’t hear the crowd when the band is playing but once they stop playing you can hear the crowd in the IEMs. Make sure to pan the crowd mics hard L/R from the perspective of the stage. Most of the time when places have crowd mics there isn't a ducker set up so I just turn them off completely because my preference as a musician is not to have a bunch of pointless mud/reverb/room sound in my ears, but vocalists seem to like them.

Talkback mics are very helpful because they allow the band to communicate without yelling during rehearsal, and live with each other, monitor world, guitar world, and FOH if there’s an issue. Put them on momentary footswitches so you’re not hearing them in the ears constantly and you can’t accidentally leave them on (this has driven me nuts a few times trying to figure out where all the stage noise is coming from in my mix). Radial makes a momentary XLR footswitch that’s very reliable. FOH engineers often have a cheap little speaker at FOH with just the talkback mics so they can hear them since they’re obviously not routed to the mains.

Custom molded IEMs are worth it for the additional isolation, better fit, greater comfort, etc, but there are heavy diminishing marginal returns after like 4 drivers. I played for close to 10 years with the same pair of 64audio v6 and only recently upgraded to A12s. There is a difference but it’s minimal. Only did it because I got them for a ridiculous price.

Sort of goes without saying but if you're hearing the vocals and especially drum mics right off the pres with no compression, EQ, verb, tuning (for vocals), etc, you're going to have a bad time. Singers sing better when singing through compression (they also like reverb on their voice) because they don't get too loud in their ears when they really sing out, and it's also helpful if you're a musician listening to the singer because they don't take over your mix. How we do the lead vocal is take the 2 outs on the wireless vocal mic receiver, run one for FOH and the band through the tuning rig (a UA twin with Console running on the B playback computer). Console is controlled by midi from Ableton on that computer with the keys and tuning strength/timing defined on a song by song basis, tuning turns off during talking parts, etc, so it's all automated. The other line out of the wireless receiver is for the vocalist (the only person who needs to hear untuned vocals) and as a backup for FOH if the tuning rig goes down. Overkill for a cover band with a catalog of hundreds of songs, but our setup is for an artist with the typical max 90 minute set so all the songs are in the ableton session ready to go.
 
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Yep excellent info. We learned the hard way not to have crowd mic anywhere near the actual crowd, or drunk people scream into them. Prolly shoulda put a limiter on it hey.
 
Yep excellent info. We learned the hard way not to have crowd mic anywhere near the actual crowd, or drunk people scream into them. Prolly shoulda put a limiter on it hey.
another reason why I generally just turn off the crowd mics in my ears lol
 
Hi, how is your routing in AXE. Which signal do you send to FOH and which goes back to the IEM. If you use another cab on stage, which signal do you take, which outputs are used out 1,2 or 3?

It's pretty easy for me. I run OUT1 to our X32R and then that goes directly to ALL in-ear systems.
The split for for is NOT effected by our X32 system, it's split BEFORE the X32, so FOH can mix as they like.

In minimal cases where I use a power amp and cab, I'll run OUT3 to the power amp and then out to the cab. I run OUT3 because it's a 1/4" plug rather than another XLR.
Regardless, both OUT's are EXACTLY the same and I just have 2 at the end of the signal chain in the AXE.
If your power amp doesn't have an EQ, you can add an EQ block just before the OUT3. I have an EQ on my Seymour Duncan power amp, but that's an option if you don't have that EQ possibility.

Hope this helps.
 
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Yep excellent info. We learned the hard way not to have crowd mic anywhere near the actual crowd, or drunk people scream into them. Prolly shoulda put a limiter on it hey.
Ha ha, yes I can imagine this happening in some of the places we play too!
We mount ours to the top of our FOH Tops, which are generally out of reach of all but the tallest of people.
 
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