I read people saying they like having their monitor mix exactly how they like it. But how is that possible? How does each musician have the ability to make their own special mix of all the other instruments?
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How are IEM mixes done for a silent stage?
- Thread starter robert_stuart
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I'm not an expert, but I have worked with digital mixers over the past few years and they make it quite easy to get individual monitor mixes.
First, by having plenty of AUX outs, then by the use of some form of "My Mix" apps (an app on a tablet or smart phone connected to the digital mixer via WiFi) that allow individual players to set up their monitor mix elements on their assigned AUX channel ... and if the band is going IEM, then it goes to their in ears. I've done it myself and once you set up the inputs, it really can work great!
hopefully that begins to help answer your question
First, by having plenty of AUX outs, then by the use of some form of "My Mix" apps (an app on a tablet or smart phone connected to the digital mixer via WiFi) that allow individual players to set up their monitor mix elements on their assigned AUX channel ... and if the band is going IEM, then it goes to their in ears. I've done it myself and once you set up the inputs, it really can work great!
hopefully that begins to help answer your question
How easy this is to wrap your head around mostly depends on how familiar you are with mixers…
At the most basic level I can go, mixers can have multiple outputs (usually called “aux sends”), and each of those outputs can have its own per channel level control just like the main output has a level for each channel.
On analog mixers, that means a physical level control for each monitor output on each channel. As in the picture below, if a mixer has, say, 3 monitor mixes (on this one, labeled MON1, MON2, MON3), every channel strip will have 3 separate knobs, one for how much of that channel goes to each monitor mix. The practical limit there is just how many knobs you can physically fit on the mixer.
With digital mixers, those controls move into software, so you’re not limited by panel space for controls. Each aux output can still have its own independent mix, but now the limit is determined by the number of physical outputs available on the mixer. And as @pfschim pointed out, the controls can be on a phone or tablet, meaning individuals can control their own mix, whether IEMs or wedge (though not necessarily a good idea in actual practice because of feedback).
At the most basic level I can go, mixers can have multiple outputs (usually called “aux sends”), and each of those outputs can have its own per channel level control just like the main output has a level for each channel.
On analog mixers, that means a physical level control for each monitor output on each channel. As in the picture below, if a mixer has, say, 3 monitor mixes (on this one, labeled MON1, MON2, MON3), every channel strip will have 3 separate knobs, one for how much of that channel goes to each monitor mix. The practical limit there is just how many knobs you can physically fit on the mixer.
With digital mixers, those controls move into software, so you’re not limited by panel space for controls. Each aux output can still have its own independent mix, but now the limit is determined by the number of physical outputs available on the mixer. And as @pfschim pointed out, the controls can be on a phone or tablet, meaning individuals can control their own mix, whether IEMs or wedge (though not necessarily a good idea in actual practice because of feedback).
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It's just a monitor mix, whether it goes to a wedge on stage or to a headphone amplifier to feed your earbuds.
You know how when you're at soundcheck and the sound person goes around each monitor and when it comes to you you say "give me a bit more guitar and main vocals, and cut keys..." or whatever? It's exactly the same process.
How many individual monitor mixes you can have depends on the actual mixer. A smaller mixer may only have 1-2 monitor AUX outs, while others may have 6 or more. When you have at least as many monitor outs as there are members in the band, then each person can have their own mix. Otherwise, there's some sharing, just like sometimes you end up sharing a monitor wedge on stage.
The cool thing with digital mixers above a certain level is that you can control it remotely (via wifi) using an app on your phone or tablet. That gives people the ability to control their own mix and not have to ask the sound person for what they want.
You have to have some logistics in place. Basically, the band has a digital mixer, like a Behringer X-Air 18, or the X-32 rack version.
Furthermore, you have signal splitters - a 19" thingy where one XLR signal goes in but two identical come out.
All the mics and instruments connect to that splitter. One half is fed into the mixer, the other is fed to FOH.
The digital mixer will feed the IEM system, and you'll have the correct app on your smart device that lets you set your personal mix.
An example
Top to bottom:
The first thing is a WiFi Router that gets better signal than the X-Air has built in (which is terrible).
The next thing is a battery charging station with 16 AA batteries for the IEM receivers.
The next three rows are IEM transmitters. My band uses mono feeds.
Then, there's the X-Air itself and the lowest row is the signal splitter.
The drum kit is electric and uses a single mono line - which works a lot better than it should - so we get away with 8 channels. Three mics, two guitars, one bass, one drum kit, one ambient mic.
Furthermore, you have signal splitters - a 19" thingy where one XLR signal goes in but two identical come out.
All the mics and instruments connect to that splitter. One half is fed into the mixer, the other is fed to FOH.
The digital mixer will feed the IEM system, and you'll have the correct app on your smart device that lets you set your personal mix.
An example
Top to bottom:
The first thing is a WiFi Router that gets better signal than the X-Air has built in (which is terrible).
The next thing is a battery charging station with 16 AA batteries for the IEM receivers.
The next three rows are IEM transmitters. My band uses mono feeds.
Then, there's the X-Air itself and the lowest row is the signal splitter.
The drum kit is electric and uses a single mono line - which works a lot better than it should - so we get away with 8 channels. Three mics, two guitars, one bass, one drum kit, one ambient mic.
As others have noted, you'll want a mixer with at least one auxiliary output per band member.
Modern digital mixers take this further by allowing each musician to connect their phone via Wi-Fi and adjust their own monitor mix in real time. Want more bass? Simply slide the fader in the app. Too much guitar? Dial it back with a tap. Each player gets full control over what they hear on stage.
Modern digital mixers take this further by allowing each musician to connect their phone via Wi-Fi and adjust their own monitor mix in real time. Want more bass? Simply slide the fader in the app. Too much guitar? Dial it back with a tap. Each player gets full control over what they hear on stage.
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Often it's just using the Aux Outputs that would normally be used for each of the monitor wedges. So you can have a different mix for each Aux as @drpepper shows in the pic above. Except, instead of going to power amps and monitor wedges, they go to the IEM transmitter. Of course you're limited to the number of Aux busses your mixer has. So if you have more band members than Aux sends, some people might need to share one of the mixes.
A lot of digital IEM systems are split from the FOH and operate independently and in parallel to the main mix, and are controlled by software, not hardware bussing. Before the inputs ever get to the main mix they're split out to whatever system/computer/gear is controlling the IEMs. And because it's software based, there's a good chance you can add as many separate mixes as you want (within reason) and send them individually to each connected IEM receiver. So for each musician with IEMs, they can have their own mix.
IMHO, if a band is doing IEMs, everyone should really have their own mix. Sharing a mix coming out a monitor wedge isn't necessarily ideal, but it's also fine. Sharing a less than ideal mix injected directly into your ears kinda sucks. Setting up a digital system with a full signal split might be a little more expensive on the front end. But on the back end, it's essentially expandable for "free" because adding mixes just means someone new showing up with their IEMs and pressing a button in the software. Of course, if you've run out of splitter channels or need a more robust system, it's not free. Nothing's ever free-free.
A lot of digital IEM systems are split from the FOH and operate independently and in parallel to the main mix, and are controlled by software, not hardware bussing. Before the inputs ever get to the main mix they're split out to whatever system/computer/gear is controlling the IEMs. And because it's software based, there's a good chance you can add as many separate mixes as you want (within reason) and send them individually to each connected IEM receiver. So for each musician with IEMs, they can have their own mix.
IMHO, if a band is doing IEMs, everyone should really have their own mix. Sharing a mix coming out a monitor wedge isn't necessarily ideal, but it's also fine. Sharing a less than ideal mix injected directly into your ears kinda sucks. Setting up a digital system with a full signal split might be a little more expensive on the front end. But on the back end, it's essentially expandable for "free" because adding mixes just means someone new showing up with their IEMs and pressing a button in the software. Of course, if you've run out of splitter channels or need a more robust system, it's not free. Nothing's ever free-free.
That is how my covers band functions for last 3-4 years. We have digital mixer with 32 inputs, 2 main outputs and 8 aux outs.
Six band members, each one has one mono mix. Two remaining aux outs are reserved for additional output (e.g. for club surround system).
Singers have wireless stations in rack, permanently connected to their aux outs, the rest of us use wired IEM preamps. There is an Android/IOS app so everyone can set individual mono mix.
The most important things:
1. everyone sets their own equipment, so we are done packing/unpacking quickly
2. we don't use amps, so getting good PA mix is easy (we save presets for each venue, so consequent sound check is fast)
3. IEM earphones must have tight fit; this is much more important than their quality. Cheap KZ work great with little EQ compensation set at aux out. Nothing can fix bad fit, as sound bleed from outside that wrecks your IEM mix.
4. drummer uses acoustic drums with mics, but still easy to set sound as he has plex wall, and there are no other amps on stage to bleed into his mics.
Result: quick and easy setup, we are focused on music and performance, and I haven't had ears ringing in 4 years, as I keep my IEM volume as low as possible.
Six band members, each one has one mono mix. Two remaining aux outs are reserved for additional output (e.g. for club surround system).
Singers have wireless stations in rack, permanently connected to their aux outs, the rest of us use wired IEM preamps. There is an Android/IOS app so everyone can set individual mono mix.
The most important things:
1. everyone sets their own equipment, so we are done packing/unpacking quickly
2. we don't use amps, so getting good PA mix is easy (we save presets for each venue, so consequent sound check is fast)
3. IEM earphones must have tight fit; this is much more important than their quality. Cheap KZ work great with little EQ compensation set at aux out. Nothing can fix bad fit, as sound bleed from outside that wrecks your IEM mix.
4. drummer uses acoustic drums with mics, but still easy to set sound as he has plex wall, and there are no other amps on stage to bleed into his mics.
Result: quick and easy setup, we are focused on music and performance, and I haven't had ears ringing in 4 years, as I keep my IEM volume as low as possible.
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The system we use sends a digital signal to each player’s dedicated mixer that contains everything. The mixers are able to parse the digital signal into channels and they allow each player to manipulate their mix independently.
The cable that I plug into my mixer is an Ethernet cable.
Coolest thing ever, frankly.
Pro hack - IEMs are great. They tend to create a sense of isolation though. We put a microphone mid-stage to capture ambient sound and give it a channel. Mixing some of it into my IEM mix really helps.
The cable that I plug into my mixer is an Ethernet cable.
Coolest thing ever, frankly.
Pro hack - IEMs are great. They tend to create a sense of isolation though. We put a microphone mid-stage to capture ambient sound and give it a channel. Mixing some of it into my IEM mix really helps.
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It’s funny what we take for granted!
I was digging deeper into your question. It looks like others addressed about all of it.
I think another thing to mention is that you could just take a traditional speaker monitor mix and pump that into your IEM receiver. I’ve actually done this; just take the XLR send signal from the nearest monitor and use that.
But you should like to optimize the mix for IEM application. I generally just want myself at max when I’m not running an amp.
I get vocals (there are at least four of us singing). A little guitar and verrrrry little keys. I usually ask for near zero drums and horn section because I will hear enough from bleeding mics (unless they have the gain setting such that it doesn’t trigger a signal).
How that’s done is so easy now due to digital mixers. Each monitor signal very easily gets the requested mix.
I was digging deeper into your question. It looks like others addressed about all of it.
I think another thing to mention is that you could just take a traditional speaker monitor mix and pump that into your IEM receiver. I’ve actually done this; just take the XLR send signal from the nearest monitor and use that.
But you should like to optimize the mix for IEM application. I generally just want myself at max when I’m not running an amp.
I get vocals (there are at least four of us singing). A little guitar and verrrrry little keys. I usually ask for near zero drums and horn section because I will hear enough from bleeding mics (unless they have the gain setting such that it doesn’t trigger a signal).
How that’s done is so easy now due to digital mixers. Each monitor signal very easily gets the requested mix.
This here is pretty much it. I’ll add that more often than not, me and the rest of the back line are wired either directly to the mixer or through something like a P2 IEM pack. Wireless is nice for people up front but you can get by just fine without it. It’s also nice to have one less battery operated thing to think about!
We play with amps on stage, but not loud, and we use IEMs. Initially I used them essentially as an in-ear monitor for vocals, with the ear buds doing double-duty a hearing protection, but now I add a bit of bass in my mix and it really helps. Side note, as someone who is working more on backing vocals, having in-ears was a MAJOR help in having those backing vocals be better. Really a game changer.
I will also say that when you are doing this method, you quickly learn who's mic is picking up all the ambient noise. Our guitar player's vocal channel, for example, often has guitar bleeding in which can sometimes make it too loud in our IEM mix.
We usually use the mixer method as described in detail above, with each of us having our own Aux channel. But I've done sub gigs with a band that gives each member their own digital mixer so we could dial in our mix ourselves. Very cool...
I will also say that when you are doing this method, you quickly learn who's mic is picking up all the ambient noise. Our guitar player's vocal channel, for example, often has guitar bleeding in which can sometimes make it too loud in our IEM mix.
We usually use the mixer method as described in detail above, with each of us having our own Aux channel. But I've done sub gigs with a band that gives each member their own digital mixer so we could dial in our mix ourselves. Very cool...
YES!
Like this;
I use a Midas XR18 & the same thing in Behringer, depending on which band I’m with. We do not do totally silent stage, just very low volume. Both mixers have 6 auxiliary outs. We are a 4 person band, so we each get an aux and each of us select from the inputs what we want to come out our aux and the level we want for each. The total number of inputs is 3 vocal mics, 2 mic’d guitar amps (amps have selectable power output, both set at 1 watt) 1 mic’d harp amp, 1 direct out from the bass amp and 1 direct out from electronic drums. Eight total channels we each mix by cell phone or cheap Onn pad into our individually assigned aux out.
I use Etymotic “noise isolating” earbuds (-42db noise blocking) and I use either an Xive wireless from the aux to my receiver or I recently started using a wired, battery powered, headphone amp. We can also go in to the bus master of each of our aux outs and EQ the sum of what is coming to our ears.
If I turn my IEM amp off, I can barely hear the bass through the Etymotic earbuds, but not much else. We do run a FRFR speaker behind / beside the drummer for a low stage volume of the drums and I can hear the kick and low toms just barely with my IEM amp off. The FRFR speaker is run from aux 5 and has only the drums in it at very low volume.
We usually run two subs that are fed from the L/R main outputs from the mixer. We pass the signal through the subs up to the main full range speakers with their rolloff set at 120Hz.
Sometimes we run only 1 sub fed from aux 6 with only drums and bass in the aux 6 output.
So, why do we use any amps on stage? Neither guitarist have an amp emulation rig so they use analog pedals into tube amps set at 1 watt (high power is 15 watts) with Sennheiser mics on them. In order to have a balanced stage volume, I run a Rumble 100 1x12 on stage & use its direct out. As mentioned, drums are through an FRFR on stage. We recently had some dancers say they couldn’t hear vocals when they were in front of the stage. Well, duh, we have no amplified vocals on stage, so we’ll probably run a second FRFR wedge pointed toward the dance floor…
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I assume your entire group is using in-ears and have suffcient FOH support.
Also using this on your mics will eliminate a lot of stage bleed. It’s called a mic mute and that’s what it does but it’s actually a “proximity sensor”. They really clean-up the sound in your ears.
Also using this on your mics will eliminate a lot of stage bleed. It’s called a mic mute and that’s what it does but it’s actually a “proximity sensor”. They really clean-up the sound in your ears.
I put together our IEM system a few years back with the goal that it be independent of the FOH system. It is self-contained in its own small rack. The first component is a Behringer MS8000 XLR splitter. Every instrument and mic gets plugged into that. For each XLR input on the splitter, there are two XLR outputs: one goes to the IEM system, the other goes to the FOH mixer or FOH snake. The XLR patch cables for the IEM system next go to a Behringer ADA8200 8-channel preamp, where each channel has its own gain control. The ADA8200 is then connected via optical cable to a Behringer P16-I Personal Monitor Interface. That's all that's in the rack. From the P16-I I run Ultranet (Ethernet) cables out to the Behringer P16-M personal monitor mixers that each musician has (the P16-M mixers are power-over-ethernet, so the cable provides both audio and power). Each musician can set (and save) their own individual mix in their P16-M. Each musician then connects their IEMs (or headphones) into their P16-M. This can be done wirelessly via bluetooth or wired.
Initially the system could accomodate 8 channels, but I later successfully scaled it up to 16 channels simply by adding an additional MS8000 splitter, ADA8200 preamp, and P16-I Interface (each P16-M mixer already accomodates up to 16 channels). These days, we've downsized the band and so we're back to 8 channels. I guess some of this Behringer equipment is now considered "legacy" and has been updated to new equipment, but the concept should be the same.
This system was designed for the type of band we are (our configuration can vary from duo to quintet) and the type of venues we play at (typically smallish rooms). We rarely have our own sound tech. Sometimes we use our own PA system and sometimes we plug into the house system. Either way, our monitor mixes are always the same, but can also be individually tweaked by each musician. The personalized mix we each hear in our IEMs is exactly what each of us wants and is the same from gig to gig, regardless of who and how the FOH sound is being done. If we use a house system that includes wedge monitors, we simply ask that those be turned off. Other than that, the FOH sound tech has zero control of our monitor system.
One drawback to this setup is that there are no effects (such as reverb) built into the monitor system. One of our singers insists on having reverb on her voice in her monitors, so I got a reverb pedal (TC Helicon VoiceTone R1) and inserted it between her output from the XLR splitter and her input into the ADA8200 preamp. Easy peasy.
Initially the system could accomodate 8 channels, but I later successfully scaled it up to 16 channels simply by adding an additional MS8000 splitter, ADA8200 preamp, and P16-I Interface (each P16-M mixer already accomodates up to 16 channels). These days, we've downsized the band and so we're back to 8 channels. I guess some of this Behringer equipment is now considered "legacy" and has been updated to new equipment, but the concept should be the same.
This system was designed for the type of band we are (our configuration can vary from duo to quintet) and the type of venues we play at (typically smallish rooms). We rarely have our own sound tech. Sometimes we use our own PA system and sometimes we plug into the house system. Either way, our monitor mixes are always the same, but can also be individually tweaked by each musician. The personalized mix we each hear in our IEMs is exactly what each of us wants and is the same from gig to gig, regardless of who and how the FOH sound is being done. If we use a house system that includes wedge monitors, we simply ask that those be turned off. Other than that, the FOH sound tech has zero control of our monitor system.
One drawback to this setup is that there are no effects (such as reverb) built into the monitor system. One of our singers insists on having reverb on her voice in her monitors, so I got a reverb pedal (TC Helicon VoiceTone R1) and inserted it between her output from the XLR splitter and her input into the ADA8200 preamp. Easy peasy.
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