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Anybody here using IN-EAR MONITORING systems?
If so, what are you using, and are you happy with it?
To me, it looks like a fairly pricey solution, but it does have its advantages:
1) each person can make themselves louder in the mix so you don't get volume wars when people turn up in order to hear themselves
2) if you're using backing tracks in the context of a full band, the in-ear monitors are supposedly the best way to keep people from getting out of synch with the trax
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rockstar_not (Scott Lake) works for a company that make in-ear stuff. Maybe pm him?
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rockstar_not (Scott Lake) works for a company that make in-ear stuff. Maybe pm him? I immediately thought of Scott. He's a Acoustic Design Engineer and knows his stuff. High quality in-ear monitors, custom-designed and EQed specifically for you are going to dip into your beer budget, no question!
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The last church I attended had the AXIOM networked system. 16 units on the stage, and whoever had one could dial in a custom mix and controlled their own volume level for listening.
It could feed cans or any other sort of in ear system and even an amplified speaker on the floor.
When I think of in ear I think of the wireless systems the pro's use in concerts and on TV. Where there's a dedicated monitor mixer as well.
That AXIOM system is pretty sweet for what it can do. Somehow, I didn't rate getting one and had to do without while the trumpet players and flute player got one.... oh well....
(the rest of this post was tactfully deleted before I hit SUBMIT)
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Don't go cheap, is all I can say. The last band I was in we all chipped in and bought a used system, must have cost around $400 or $500. I don't remember the brand name but it was nothing you'd have heard of. Waste of money.
BiaB 2024
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Melodyne Essential 5.3
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What your stage volume level? Keep it down and you won't need anything but wedges.
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At this point I'm just collection opinions. Thanks to everybody for offering a variety of thoughts.
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It's AVIOM, not AXIOM. Behringer has a very competitive product with better features than Aviom, IMO.
For personal use, I wouldn't bother, because there's two main points for using in-ear monitors:
1. Hearing protection from stage volumes. If you have full control of this, no need for them.
2. 'more me' mixing, or at least mix what you want/need to hear. Again, if it's just you, no need.
For the record, I no longer work for the in-ear monitor company which I will not mention by name in this post. I can say that there are folks there that are the progenitors of the actual in-ear canal technology, and if that company had done their homework on protecting their intellectual property, it would be a 100 million $/year company.
In order to achieve the 1st goal, you need a signal chain that has limiting built in. This is something the Aviom systems did not have - not a good choice, just from that standpoint alone.
The 2nd goal is what is blissful, because you can get down to the very basics as to what you really need to hear. In the band I play in, I have kick and snare, lead singer's voice and acoustic guitar, bass, and electric guitar mixed for me. I'm either on bass or electric guitar most sets. Now and then I'll dial in a little of the keyboards, but I always leave the 2nd singer out, and often keep the keyboards out, unless they are the lead instrument for the song.
Our drums are in a full-on clearsonics drum enclosure with a lid to keep the levels managed in the room. I normally stand within about 4' of the crash cymbals and because of the enclosure and the IEMs I have never left a set with my ears ringing.
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I mentioned the Aviom system since I was vaguely familiar with it from my days playing in the church band/orchestra. Thanks for the correction of the name.... I was one letter off.
Due to the number of individual musicians playing, they really needed to expand it but didn't want to spend the money.
I think such a system would likely work well in a studio environment and have seen a few cases of it being used on stages with traveling bands.
I'm a big proponent of controlling the stage volume and using wedges.
I think the big advantage of the in ear isolation monitoring is ...well 2 things actually.....
1. controllable volume levels to prevent hearing damage
2. no latency from the actual physical distance involved with big "made for TV" stages. At 20 feet from the sound source the delay becomes noticeable. At 50 feet, it's a killer to try to stay in time. At 100 feet, no-way. In ear solves that.
Last edited by Guitarhacker; 03/12/15 01:36 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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At this point I'm just collection opinions. Thanks to everybody for offering a variety of thoughts.
You might be able to use some expert opinion. Sign up at PSW and go to the "Lab Lounge", and you will have access to some pro SE's - some of whom have mixed A-level acts. Just make sure you use your real name as a handle - they absolutely insist on that. Invaluable source for info on sound reinforcement and gear. http://forums.prosoundweb.comRegards, Bob
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At this point I'm just collection opinions. Thanks to everybody for offering a variety of thoughts.
You might be able to use some expert opinion. Sign up at PSW and go to the "Lab Lounge", and you will have access to some pro SE's - some of whom have mixed A-level acts. Just make sure you use your real name as a handle - they absolutely insist on that. Invaluable source for info on sound reinforcement and gear. http://forums.prosoundweb.comRegards, Bob Looks like a great resource! I joined, but I think I'll follow the posts for a while before I ask any questions Thanks for the link, Bob!
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Joined: Apr 2010
Posts: 5,139
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Joined: Apr 2010
Posts: 5,139 |
At this point I'm just collection opinions. Thanks to everybody for offering a variety of thoughts.
You might be able to use some expert opinion. Sign up at PSW and go to the "Lab Lounge", and you will have access to some pro SE's - some of whom have mixed A-level acts. Just make sure you use your real name as a handle - they absolutely insist on that. Invaluable source for info on sound reinforcement and gear. http://forums.prosoundweb.comRegards, Bob Looks like a great resource! I joined, but I think I'll follow the posts for a while before I ask any questions Thanks for the link, Bob! Do a search on the site for "IEM" and you'll get a ton of threads to read. Regards, Bob
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Ask sales and support questions about Band-in-a-Box using natural language.
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We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
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Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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