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Dealing with In-Ear Monitors?

#41
Vic said:
Yeah, I know, but it's also night and day on the money (about double). :(

If I was a lead singer, maybe, but I just can't justify it.
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It's an investment in your hearing, your music and your art. JUst save a little longer. You'll save money in the long run because in a year youll want the 5's.
 
#42
BigMikeW said:
It's an investment in your hearing, your music and your art. JUst save a little longer. You'll save money in the long run because in a year youll want the 5's.
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Good point, tho even with the E2's, the hearing protection part is satisfied, but you make a good point on the art thing. Definitely the quality of my tone affects my inspriation/playing.
 
#43
Ladies and Gentleman,

I finally got to try out the whole setup at rehearsal tonight. I'm running the Modulus Q5 into an Eden WT400 and 410XLT (with a little bit of stage volume:9 or 10 o'clock), and a direct out to the board. I am also playing some acoustic guitar and mandolin through a Shure KSM32 for more stripped down tunes. Aviom monitor mixer and Shure E3's with custom molds.

I have only tried the Shure E3's, but when I first tried them a week ago with the standard rubber tips, they were decent at best. Now with the custom molds, the difference is night and day. The low end has improved dramatically, more clarity overall, and way more noise reduction on stage. The low end response is just as good, if not better, than my larger AKG studio headphones. I guess it's something to do with the vibration being transmitted through the skull and jawbone.

I am still planning on trying the E4's, possibly the E5's, but I could do my job well with the E3's, now that I have these custom molds. I have a feeling the exaggerated bass of the E4's will be to my liking, though. I'm not really in a rush to try the E5's, since I would need to have other molds made.

In short, the molds make all the difference in the world.
 
#45
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#46
Just finally gigged with these for the first time. Oh my... these are worth their weight in gold. I hit every backup part dead on with confidence, and my ears aren't over-fatigued at all. I'm an IDIOT for not getting a set a LOT sooner... even with the bottom of the line E2's, it was great. I can only imagine with the E4's or 5's. :eek:

Little weird with 2 wireless packs tho (I also have a ULX I use a lot of times).
 
#47
robnatt said:
Ladies and Gentleman,

I finally got to try out the whole setup at rehearsal tonight. I'm running the Modulus Q5 into an Eden WT400 and 410XLT (with a little bit of stage volume:9 or 10 o'clock), and a direct out to the board. I am also playing some acoustic guitar and mandolin through a Shure KSM32 for more stripped down tunes. Aviom monitor mixer and Shure E3's with custom molds.

I have only tried the Shure E3's, but when I first tried them a week ago with the standard rubber tips, they were decent at best. Now with the custom molds, the difference is night and day. The low end has improved dramatically, more clarity overall, and way more noise reduction on stage. The low end response is just as good, if not better, than my larger AKG studio headphones. I guess it's something to do with the vibration being transmitted through the skull and jawbone.

I am still planning on trying the E4's, possibly the E5's, but I could do my job well with the E3's, now that I have these custom molds. I have a feeling the exaggerated bass of the E4's will be to my liking, though. I'm not really in a rush to try the E5's, since I would need to have other molds made.

In short, the molds make all the difference in the world.
Click to expand...
My Westone UM-1's, although possessing only one balanced armature driver, have great bass response - and I like the overall tone very well. For now I'll save the extra 300 bills for something else bass related.

Jay
 
#50
padgettohio said:
I think for me that's the best part when I use IEM's. The reduction of sound. You can get a nice, even, and much QUIETER mix.....noone is fighting to hear what they need to hear.

But talking to the audience can be a challenge while they're in...
Click to expand...
That's why Ultimate Ears makes the UE5-Ambient. It allows to you to swap out sound reduction filters to fit your needs.
 
#51
robnatt said:
Ladies and Gentleman,

I finally got to try out the whole setup at rehearsal tonight. I'm running the Modulus Q5 into an Eden WT400 and 410XLT (with a little bit of stage volume:9 or 10 o'clock), and a direct out to the board. I am also playing some acoustic guitar and mandolin through a Shure KSM32 for more stripped down tunes. Aviom monitor mixer and Shure E3's with custom molds.
Click to expand...


Are you getting any pressure to lose the stage rig?
 
#52
quallabone said:
That's why Ultimate Ears makes the UE5-Ambient. It allows to you to swap out sound reduction filters to fit your needs.
Click to expand...
Yeah, I saw those a few months after purchasing the custom mold IEM's I have. Too late to return, and now it's kinda hard to shell out more money after spending that kind of dough. They work great, and the stage mics pick up a lot the crowd so it's not all that bad...we've made it work pretty well.
 
#53
RevGroove said:
Are you getting any pressure to lose the stage rig?
Click to expand...

No Pressure to lose the rig, only play with less stage volume. I cut back a lot at first, but I kept hearing complaints that I wasn't being heard enough in the mix, so I raised the volume moderately and turned my cab outwards a bit. We're still working out all of the kinks.
 
#54
robnatt said:
No Pressure to lose the rig, only play with less stage volume. I cut back a lot at first, but I kept hearing complaints that I wasn't being heard enough in the mix, so I raised the volume moderately and turned my cab outwards a bit. We're still working out all of the kinks.
Click to expand...

Yeh, I would prefer to use my own rig with lower stage level...especially if the g***tar guys are still miking their amps and cabs! (I really hate the whole "it's just bass, go DI" philosophy, nothing against those who PREFER to use a DI!)

I play really low now as it is, and I have the same problem, not being heard in the mix, even though they have my DI out...I do a side wash though, to reduce phase problems, but we're upgrading our system with a dbx Driverack with delays...oh, that's a whole 'nother thread!

The research I'm doing for our worship team and band, I'm recommending the Aviom system with E3s for most of the band, E5s for bassists and drummers. may change to E4s, research continues, and this thread is beneficial.
 
#55
RevGroove said:
upgrading our system with a dbx Driverack with delays...oh, that's a whole 'nother thread!
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errr..... I lost 2 P.A. Speakers because of the dbx Driverack. It has a tendency to fry speakers when it loses power. There are some better solutions out there. Specifically ones that don't send obnoxious popping sounds to the speakers if power is cut suddenly. Just my experience (and that of many others) though.
 
#56
theshadow2001 said:
I don't trust in ear monitors. I don't like the ida of the sound soure being that close to my ear. One bit of mad feedback and you won't be able to pull them things out fast enough. With moulded ear plugs everythings at a nice level and no sudden unexplained accidental noises to worry about.
Click to expand...
There were a couple of comments after this post, basically saying that if you have a limiter, this cannot happen, and I don't fully agree with that.

Unless you are sure that there is a limiter in circuit, and it has been correctly set, you are more at risk from unexpected loud and/or percussive sounds. Recent research carried out on call centre staff has concluded that occasional loud noises over headsets are much more damaging to hearing than first thought, and my own experience agrees with this. I have mild tinnitus because I got a blast of feedback through an in-ear pair of phones, caused by a faulty connection on my bass.

My question would be, who is responsible for the limiter, and do you believe they are competent?
 
#57
Mottlefeeder said:
There were a couple of comments after this post, basically saying that if you have a limiter, this cannot happen, and I don't fully agree with that.

Unless you are sure that there is a limiter in circuit, and it has been correctly set, you are more at risk from unexpected loud and/or percussive sounds. Recent research carried out on call centre staff has concluded that occasional loud noises over headsets are much more damaging to hearing than first thought, and my own experience agrees with this. I have mild tinnitus because I got a blast of feedback through an in-ear pair of phones, caused by a faulty connection on my bass.

My question would be, who is responsible for the limiter, and do you believe they are competent?
Click to expand...
At least the Shure In-Ear systems have a limiter built in to the receiver (don't know about others). And it seriously squashes high-level transients. I trust it with my hearing.

(what? eh?)
 
#58
Maybe I'm just stupid, but none of this recent discourse makes any sense to me...

poster_x) too dangerous to have that so close to my eardrum
poster_y) the system has a limiter for loud transients...

I don't know about the rest of you, but I use the VOLUME CONTROL on the receiver pack to set a sane level, which is perfectly safe... just like wearing an MP3 player and not getting stupid with the volume on it. The thing that makes all this work is the ISOLATING earphones, so you don't have to compete with ambient sound.

At least this works GREAT for me, and has been a Godsend for my hearing (which is really a PRIMARY FEATURE of this product!).

Did I miss something????
 
#59
theshadow2001 said:
I don't trust in ear monitors. I don't like the ida of the sound soure being that close to my ear. One bit of mad feedback and you won't be able to pull them things out fast enough. With moulded ear plugs everythings at a nice level and no sudden unexplained accidental noises to worry about.
Click to expand...

actually, without runaway stage volume you shouldn't have a probem with feedback. Most instances of feedback that I have come across is because the stage volume is way too high.

Most feedback is a bad compbination of a microphone, it's proximity to a speaker (usually a monitor), and gain...if you are using in-ear monitors then the proximity problem just solved itelf. Unless you have microphones in front of FOH speakers you shouldn't have feedback problems.

Correct me if I'm wrong...please.
 
#60
rumblinbass said:
actually, without runaway stage volume you shouldn't have a probem with feedback. Most instances of feedback that I have come across is because the stage volume is way too high.

Most feedback is a bad compbination of a microphone, it's proximity to a speaker (usually a monitor), and gain...if you are using in-ear monitors then the proximity problem just solved itelf. Unless you have microphones in front of FOH speakers you shouldn't have feedback problems.

Correct me if I'm wrong...please.
Click to expand...


True. This is also where the beauty of the Aviom monitor mixers come in handy. In the band I play with, the electric guitar and lead vocals would be most likely to feedback - so I keep the guitar a little lower in my mix & the vocals are all run through a limiter. The goal is also to keep the master volume at a very reasonable level.

That being said, we've never had a problem with feedback anyway.
 

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