Getting a good IEM mix from FOH

Get a digital rack mixer and passive split. And a mic package. Dial in a mix. Ear mixes will be the same every time. Otherwise, ride the lightning. Having up to half a dozen devices per band accessing the FOH mixer isn't something I'd expect as a musician, or be comfortable with as a mix engineer.
 
Last edited:
I'm in this situation regularly. The best workaround I've found is to use a headphone amp with an XLR through and extra volume knob in addition to the line in. That way you can monitor your own signal independant of the monitor mix. Run your DI through that and ask for NO bass guitar in the IEM feed. Most of the time I can get where I need to be with just adjusting the balance between myself and everything else with those two volume knobs. I use a Rolls PM50se to do this
 
  • Like
Reactions: urkel3000
Get a digital rack mixer and passive split. And a mic package. Dial in a mix. Ear mixes will be the same every time. Otherwise, ride the lightning. Having up to half a dozen devices per band accessing the FOH mixer isn't something I'd expect as a musician, or be comfortable with as a mix engineer.
The dedicated monitor mix app only allow the user to adjust the channel send levels on their mix and the over all EQ of their mix, they can not get into any other functions of the mixer.

I'm more than happy to help band members get the app set up and connected to my WIFI network.
 
  • Like
Reactions: c5hokie
Lots of excellent advice here!

As a person who is a partner in a retirement/hobby sound company, (with lots of good gear) I love it when we work with a band that uses in-ear monitors and wants to do their own mix. We have two 16 channel splitter snakes and when they have their own stage box mixer it is even better. We do have two 32 channel stage boxes if really needed. We have assisted some bands we work with on a regular basis who have wanted to get into this, and have advised them on every aspect of what stage box mixer to buy, how to use the app, etc. On a couple occasions we have gone to their rehearsal space after they have acquired the hardware, and spent a half a day training them in how to make it work. Since we don't do this to pay our bills, we are willing to do it as a favor, but on a few occasions they insist on paying us, and we do appreciate it. Because we get regular gigs from them I don't mind helping them get set up because it makes our life so much easier. Maybe you could talk to a sound guy who is similarly situated as we are, and ask for the kind of help we have given.

Also, even though we have not tried it, I have read (on the internet) that there are third party apps that are not from the mixer manufacturer that will work with a mixer anyway. You may find an app that works with a Behringer mixer for example that is simpler and that you find easier to use than the factory app. Since there are two of us at many gigs, if we really must, I can be the monitor guy if need be. I don't like this because it cuts in to my time flirting with the ladies, though.
 
Last edited:
I’ve been IEM since 2011. We used to bring our own board and router and all that jazz. It was a total PITA. Switched back to amps around 2013, then full IEM in 2020.

We use FOH aux’s for our mix.

What we do is just mix as if we had a stage monitor in front of us. Sound guy sound checks, we all point up, or down, depending on what we want in our ears and then play a song. Make any changes if needed.

It’s pretty quick, and we have some really good sound guys in our Midwest circuit.

I use custom molds so that helps, and I will say, it isn’t 100% perfect all the time. I would say I am happy with my mix about 90% of the time.

It is nice when we work with a sound guy who has us saved to his board or has the M32Q app for us all to connect to so we can mix ourselves from our phones.
 
The dedicated monitor mix app only allow the user to adjust the channel send levels on their mix and the over all EQ of their mix, they can not get into any other functions of the mixer.

I'm more than happy to help band members get the app set up and connected to my WIFI network.
I don't have time to teach on the job myself, but I only work in original showcase venues these days.
 
I don't have time to teach on the job myself, but I only work in original showcase venues these days.
In my pre show conversation with with bands that are carrying an IEM system but not a split mix system I'll let them
what APP they'll need if they want to do their own IEM mixing. I figure the time spent getting them up and running on it if they need help saves me time in the long run.
 
Sadly, it's a PITA. There is NO simple/easy solution - unless the FOH guy is your own sound guy for every gig.
This is why many bands have moved to their own IEM monitor systems. All 5 I've played in this year have their own system.
You get a small footprint 16-ch digital mixer (X32R, Ui24R, DL16S, XR18, etc..), a 16-ch splitter snake housed in a rack and a router. DON'T use the built-in Wifi on these mixer.. they're basically worthless.
That rack can also contain any wireless transmitters for those who use them. If not, an XLR cable to the band members wireless works just as well. For wired monitoring there are number of solutions with a Rolls PM or Behringer P2 being commonly used.
The splitter snake has a 2-fold use.
It's there to a) send a feed (split) to the House if they don't have one to give you or b) get a feed from the House.
NOTE: The short leg of the splitter snake is permanently connected to your mixer.
If no house feed, all mics go into YOUR splitter snake "box", with one side (leg) going to your mixer and the other to the House inputs.
If the House has a feed, you simply connect their feeds to the splitter snake box.
This works best if you are doing your own gigs.. meaning you're not playing where backline is provided, etc.

The advantage is you get to control your own IEM mix via tablet or phone by connecting to the router to which the mixer is connected. No trying to get FOH attention and have them interpret what you need more or less of in your mix.
For every gig, you can save the settings (Scene) on the mixer and recall them next time you are at that venue.
This significantly reduces soundcheck time as your IEM settings will be the same as they were when you were last there - and you only need minor adjustments.

I recommend practicing with IEM (headphones) to get used to the isolation (after using wedges/amps) and ONLY put what you need to hear into your IEM mix. It's very difficult to get a CD-quality IEM mix with a mono feed as there's little separation, no panning and EVERYTHING is centered. It can get cluttered pretty quickly and end up being a mushy mess where you can't hear what you need to do your job.

PS: Read the doc in my sig if you have questions on using wireless in a band.
This is the 110% path to enlightenment. Is it costly? Is it another rack of stuff to schlep? Do you have to have to know what you're doing? Yes to all. It's also the best way to do this.
 
In my pre show conversation with with bands that are carrying an IEM system but not a split mix system I'll let them
what APP they'll need if they want to do their own IEM mixing. I figure the time spent getting them up and running on it if they need help saves me time in the long run.
Not my experience personally, I am sent tech riders approved by a production manager which are addressed day of show. I'm not paid to advance. I work around 250 shows a year, mostly 3+ band bills. Only time I have time to teach is when contracted by a specific band for a tour. Spending that time has no value for me. I mix ears from FOH without any more time than it takes to do wedges, actually it's quicker because there is no eq needed for feedback issues, unlike wedges.
 
The gig is over, and it went pretty well. The only major issue I had was that I wore the wireless pack on my belt just behind my right hip. I switched basses a few times, so I didn't want to wear it on my bass strap. About 4 or 5 songs in, my monitoring volume kept decreasing. The wireless pack's volume kept getting adjusted as I moved around. We had maybe 30 minutes for sound check, so I had plenty of time to make adjustments. During the gig, the sound engineer maintained good eye contact with us and made adjustments quickly when signaled. Overall, it was a great experience. We thanked the sound engineer profusely and even tipped him for doing a great job. I feel more confident about using IEMs in the future.
 
Good start.

30 minute sound check? We have had bands show up a mere hour before the gig is scheduled to start. We watch anxiously while the drummer sets up, and the guitar players leisurely chat for a while before even placing their amp on the stage, expecting us to mic the drums and do all the other stuff we need to do to get them going. Sound check is sometimes the first song. :woot:

(When I get asked by someone who we have not yet worked with how much we charge, I say it depends on a number of factors, and one thing I always tell them is if you are hard to work with it costs more.)

Now I suggest that if you want to get a little deeper into using IEMs you consider buying something like a Behringer X AIR XR18, a splitter snake, and a rack to contain it along with your in-ear wireless hardware.

Oh yeah, show up early, and definitely tip the sound guy. :thumbsup:
 
Last edited:
  • Like
Reactions: s0c9
I retired from live mixing about 10 years ago. At that time, at the club level in my market, IEMs were not common. What was most frequent was a mixed scenario, maybe a lead singer or BL with them and the rest of the band with wedges.

I did not like mixing IEMs from FOH because we didn’t have limiters on aux sends. So I’m running FOH, monitors, extra fill mixes, sometimes a live recording or broadcast mix. Some feedback gets through that mix and it’s on me, even if it’s caused by a dopey Muso pointing a mic at a wedge “for fun”. Or unplugging from a live DI etc.

Lucky for me I was very good at getting my stage monitors stable at fighting volume. Still, you know idiot proof and a better idiot is made.
 
So many varying experiences and situations highlighted in this thread. Pretty invaluable for those interested in doing it. It really points out how many factors are at play. In the end it really seems these systems work best when self contained and sorted with a split to the venue for that night. That way you know the mix works in advance, it cuts down on setup and check times dramatically, there is no need to download compatible software to learn or IP addresses to enter and connections to fiddle with, and keeps "screen time" on stage to a minimum.
 
  • Like
Reactions: Hoochie Coochie Man
So many varying experiences and situations highlighted in this thread. Pretty invaluable for those interested in doing it. It really points out how many factors are at play. In the end it really seems these systems work best when self contained and sorted with a split to the venue for that night. That way you know the mix works in advance, it cuts down on setup and check times dramatically, there is no need to download compatible software to learn or IP addresses to enter and connections to fiddle with, and keeps "screen time" on stage to a minimum.
Totally.. it's a one-time setup with the band (rehearsal?).. then. save a scene for each venue so when you return, you start by recalling that scene. Sound check can [often] be as fast as one song. You mix your monitors, and FOH mixes FOH.
 
Last edited:
Sure, here is the revised text:

Our band isn't currently in the market to buy an IEM system, although it would be nice to have one. We typically perform 1-3 times a month and don't rehearse very often. I'm expected to know my parts without much rehearsal. Our guitarist owns a Mackie 16-channel soundboard with two mains and three monitors. We're planning to invest in subs in the near future. For most of our gigs, we have to bring our own sound system. The reason for my original question is that as we're getting bigger gigs, some venues require in-ear monitors. I don't have much experience performing with them, and I was hoping to get some insight or tips on how to get a clear mix. So far, I have learned that it's important to communicate effectively with the sound engineer and to speak up.
 
  • Like
Reactions: Wasnex and D.A.R.K.
We always carry a storage crate that has a digital mixer, an 8 channel snake and splitter. Worst case, we split out the vox, guitar, bass, keys and click track to run our own in ears. That being said, most of the time we get access to the WiFi and use the Mix Station app to control our mixes. I’ve yet to run into a situation where the house expected us to share a single mix. I find that mounting an iPad to a stand with Mix Station or other app native to the mixer makes it very convenient for me or other band members to control their mixes. Being mix-savy, I typically run the mixes for my band mates as well.
 
  • Like
Reactions: s0c9

Latest posts