How To Set Up An In Ear Monitor System

How would y'all like to have to never worry most your stage monitors again? How about cutting your setup time in one-half (or even more)? In-Ear monitoring has many other benefits including:

• Lower on-stage volume which reduces chances of mic feedback.
  
• Consistent mixes for each ring fellow member—no more having to tell the FOH engineer to turn someone up or downward in the stage monitors.
  
• Ameliorate FOH mixes as the engineer can focus on the band mix and not the monitors.
  
• Cleaner FOH mixes as there's no more mic bleed from the stage monitors.
  
• A better looking stage—once more, no stage monitors getting in the way.
  
• Less run a risk of hearing damage from loud on-stage volumes—bold you keep your in-ear monitor levels reasonable.
  

I'm going to describe for yous an in-ear configuration that nosotros used when on tour with Artemis, as it was one nosotros tweaked to perfection over the grade of a few shows, and then break it downwards with examples of alternate configurations you can apply depending on your particular stage setup.

Splitting Your Outputs

Generally speaking, all of your instrument and mic outputs are going to terminate upwards beingness plugged into the stage box going to forepart of house. The first step is to split your outputs so that you tin can accept i set going to front of house, the other to your monitor organisation.

We did this using a custom built rack mount splitter, as it was more than economical than an off-the-shelf unit of measurement at the time. All the same, if you're non into finding parts and soldering, there are many commercially available splitters—the Art S8 is a solid unit and at that place are many others from Pro Co, Cyclone and other manufacturers, depending on your needs and upkeep.

Along with the splitter, you'll need two XLR snakes—ane to become from the splitter to your in-ear monitor console, the other to the stage box.

In-Ear Monitor Console

To become consequent in-ear mixes every time, y'all will need a digital mixer with recall capabilities. At the time we were using a Yamaha 02R, only in that location are plenty to choose from, both new and used.

When choosing a digital mixer, you'll need to keep in mind these requirements:

• It must have enough Aux outputs—1 stereo aux output for each different monitor mix, keeping in mind that some band members may be fine with sharing a monitor mix. You tin can apply the chief output mix as well, since you aren't using it for anything else.
  
• Aux Sends MUST be pre-fader—unless you don't plan on using the master output every bit an in-ear mix. If they are only post-fader, any adjustments to the channel faders will modify the Aux mixes besides.
  
• Enough inputs for every mic and instrument you'll want to be able to monitor.
  
• Built-in limiter for each Aux bux and Main output (or a compressor with a xx:1 or higher compression ratio and hard-articulatio genus adequacy).

Some, more recent, consoles have the ability to utilize iOS devices to control your mixes, such as the Mackie DL806, PreSonus StudioLive series and many others. These require a scrap more configuration every bit a wireless network is needed. We may cover this topic in a further tutorial.

On a related note, many newer digital mixers allow you to use hardwired connections, typically over ethernet, and then that you lot tin attach remote control devices for decision-making monitor mixes. If you lot prefer to have each band fellow member have control over their own monitor mix, these types of mixers are a bully option.

Wireless or Wired?

Whether you choose wired or wireless to get the mix to your in-ears is a matter of preference—the configuration is very similar. With wireless units, you'll connect the output of your monitor console to the input on the wireless transmitter. With wired units, you're going to demand a headphone mixer to convert the line level outputs of the monitor console to headphone level for your in-ear monitors. You should purchase good quality headphone extension cables—don't cheap out here! Having your in-ear monitor mix cut out because of a bad cable is no fun. Wired monitoring can have its drawbacks—the additional cables on the stage can be stepped on, pulled, tripped over, etc. Always tack down your cablevision runs using gaffers tape wherever possible!

If you become the wireless road, stick to manufacturers with a solid reputation—Shure, Sennheiser, AKG and several others have a reputation congenital on reliability. If you accept more one band fellow member using wireless, you'll want to brand sure all units are using different wireless channels or you have units that have multiple selectable frequencies. If, on the other paw, you have band members that would like to get the same mix, yous tin can get one transmitter and several receivers that are on the same channel—you'll save money with only have to purchase the single transmitter.

In-Ear Monitors

The bodily in-ear monitors themselves are probably one of the near difficult choices, as you desire to find ones that fit well, sound good and are comfortable for long periods.

You lot could, technically, use anything from a pair of cheap earbuds on up to custom units that are made using an impression of your ears. Ultimate Ears, JH Audio, Sensaphonics and Dream Earz are only a few companies that can brand custom fitted in-ear monitors.

While using off-the-shelf earbuds is an pick, it's definitely NOT going to give you the all-time sound quality and they have a tendency to autumn out, especially when you're rockin'. The best sound comes from a snug, sealed fit—most in-ear monitors will come up with a diversity of foam inserts to fit your ear canal size and offer a reasonable tight fit, only the custom units are a serious notch upwards in the audio quality section.

The Setup

Now that we've covered the gear necessary, let'due south dive into the configuration. I already covered the carve up—all your instruments and mics connect to your splitter, with one split up going to your monitor console, the other going to the stage box. It'south a practiced idea to label the console and snakes so that you lot tin can be sure to connect them exactly the same way every fourth dimension.

Yous'll desire to dedicate at least i rehearsal to setting up your new in-ear monitor system, which then tin be tweaked over further rehearsals.  To start nosotros're going to use the stereo outputs of the monitor panel for the outset mix—so connect either your wireless transmitter to its output, or your headphone amplifier. Connect your wired in-ears to the headphone amp or your wireless in-ears to the receiver and power everything upwards.

Create your starting time monitor mix by having everyone play a song and get a basic mix going—the ring member listening to the mix will give feedback about how the mix should exist tweaked to get information technology perfect for them. At that place will exist a lot of starting and stopping and, if another band member is doing the mixing, y'all may finish upwardly having them do the mix minus their instrument, then have another member adjust their instrument in the mix later. This is where having a non-member come in to exercise the mix can be handy—the entire band can play while they make adjustments.

Repeat the process for the other ring members using the Aux outputs and you're nearly at that place. Add together effects, compression or other processing to become your mixes 'just right'.

Of import! Brand sure to fix your Aux sends to pre-fader!

Once you take solid mixes for every ring member you'll desire to SAVE the mix every bit a preset on your digital console. If you would like to take different mixes depending on the song, you tin create presets for each vocal and retrieve them using either the retrieve process on the console or via MIDI, if your console supports it.

Rubber

To forbid possible ear damage from dropped mics, shorted inputs or other anomalies that can put a loud, instantaneous bespeak into your mix, you should e'er insert a limiter across the main and aux bux paths, or a compressor with a 20:1 or higher compression ratio and hard-knee setting. Ready the limiter or compressor threshold to just above the maximum volume level that'due south comfortable. Go on in mind that there can exist several other gain stages past the output of the mixer, such as at the headphone amp or on the wireless receiver. You lot should ever endeavour to apply the aforementioned settings every fourth dimension and understand when the volume is as well loud. The limiter/compressor will preclude the output signal from going past a certain signal, only it's up to yous to proceed your headphone amp book or receiver volume controls in check.

Boosted Considerations

If you tin can use the same mics on your instruments, drum kit, etc. every fourth dimension, rather than relying on the venues mics, you tin guarantee your in-ear mixes will stay the same. If not—be prepared for having to tweak mixes. I always recommend using your own mics—choose ones that are common in the venues you play regularly and even consider having a few options to embrace all situations, with appropriate mixes depending on which mics you're using.

If yous have to adjust your mixes for a particular venue that you play often, consider saving it equally a preset and brand notes nigh which mics, etc. they used then you tin can easily replicate it the next time you play there.

Gain staging is critical—all instruments, keyboards, amps, etc. should have the aforementioned volume settings every fourth dimension. If possible, salvage them every bit presets for easy remember, otherwise utilize some kind of indicator (bright tape, notes, etc.) so you know where to set them.

1 of the most common complaints about in-ears is the lack of 'crowd noise' and the ability to hear other band members talking. The simple solution is to get a good quality omni-directional mic to set on stage and mix into your monitors.

Alternate Configurations

Many artists no longer play with a ring, or have stage setups that are more often than not computer based—fear not, I haven't forgotten nearly you!

If your setup is such that all your outputs are coming from an sound interface, your configuration is going to be super unproblematic—no need for a digital console, splitter or ophidian cables.

From your playback software (Ableton Live, MainStage, etc.) create a pre-fader Aux Send for every track - this is what yous'll use to create each monitor mix. You can read this article for examples of how to configure MainStage—the aforementioned info applies to nearly any DAW or live performance software.

If about of your playback comes from your audio interface, but you have a keyboard or mic that goes direct, you lot can e'er use a splitter with those and route one of the outputs to your sound interface (assuming it has enough inputs) and create a rails to monitor that input. When doing then, yous may have to reduce your buffer size to avoid delays in hearing the instrument in your in-ears—ideally your interface has the option for hardware monitoring, so yous can avoid this entirely.

Decision

While in-ear monitors are definitely an expense, I think you'll find their benefits more than justify the cost. Yous'll detect you lot can set up faster, play better and even sound better to your audience—a win/win all effectually! With a faster setup y'all don't have to worry so much almost other bands cutting into your soundcheck time and the FOH engineer will Beloved You—nosotros had no terminate of compliments while on bout with Artemis because we made the FOH engineers job so easy.

Taking the time to create a setup like this will testify your professionalism and that goes a long means toward getting bigger, improve and more fun gigs.

Source: https://ask.audio/articles/getting-started-with-in-ear-monitoring

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