Processing for in-ear monitor setup: Suggestions?

[tekhedd]

I am putting together a wireless in-ear setup because, well, I'm singing a bit now and it's TOO DAMN LOUD to take out my ear plugs. Looking for suggestions for processing.

Because our band uses the FOH mix as our entire stage monitor setup, I want to just use that feed along with a pre-processing vocal feed, but I need EQ and limiting because, well, the guy who manages the mix is deaf and can't leave it alone, so it's way too bright and you never know when it's suddenly going to be SUPER LOUD. I would love to squeeze it into a half rack space to fit the whole rig into a compact 2U case, but a full 1U solution would be acceptable.

I'm looking at "channel strips" as a possible solution, but as they are usually designed for home studio use they tend to be either very big (2U) or very expensive, or both. Could also attach a chain of micro units to a rack tray I guess, although you have to factor in the chain of wall warts or custom power supply.

I am considering a JoeMeek ThreeQ, although I realize an optocomp is probably not the best choice for a general purpose limiter, but it does have a truly epic wall wart power supply, which sucks. Suggestions? At this point all I care about is (what's left of) my ears; at this point I'll pay what I have to.

HELP!

 

[s0c9]

If you buy (or own) a decent IEM system, it should already have a built-in limiter.
If you buy/own the more expensive models (Senn G3, Shure PM900/1000, etc.) then you get ADJUSTABLE limiting.

Seems like you have a simpler (and cheaper) solution, which would be to fix the root cause.. the FOH guy!
If it were, me I'd start there, and not try to band-aid a solution together.
You didn't mention the mixer, but our X32 has gate/comp capability on each channel, and to be honest, if you don't know what you're doing with compression you can quickly make it sound worse!

And.. if you are monitoring via appropriate AUX or BUSS feeds, then fader changes shouldn't impact you. If the FOH jacks constantly with the EQ or mixes with the input trims (seen that way too many times and amazes me that folks still try it with digital consoles) then yeah, you are NOt going to have a pleasant experience.

 

[tekhedd]

If you buy (or own) a decent IEM system, it should already have a built-in limiter.
If you buy/own the more expensive models (Senn G3, Shure PM900/1000, etc.) then you get ADJUSTABLE limiting.

Yes, there's a long story there. The limiting is way past hearing damage levels on the cheaper units. I'm running an A-T M3, which has acceptable sound quality but limited (haha) features, and which I got a great deal on. Unfortunately I don't have budget for better right now, well technically that's not true, but in order to tempt the rest of the band onto the IEM bandwagon I wanted to keep the cost of additional receivers down. It's all part of a diabolical master plan, unfortunately.

Seems like you have a simpler (and cheaper) solution, which would be to fix the root cause.. the FOH guy!

HAHA indeed! You mean, the band leader? I wish. A DIY-with-ipad matrix style mix would also solve the problem, but... I haven't quite reached the point where I'm comfortable investing in that kind of setup for somebody else's band. And I can not trust band leader to do the mix for me, as he will mess with instrument EQs in the middle of a set etc.

I'm trying to make the best of a flawed situation, fixing the things I can. If it was my band, none of this would be an issue, because anyone who insisted on that kind of stage volume level would be bringing their own IEMs or walking.

And.. if you are monitoring via appropriate AUX or BUSS feeds, then fader changes shouldn't impact you.

Oh I wish. You are entirely correct, and with a good mix the EQ thing becomes unnecessary and limiting is just to protect against accidents.

To make my current situation workable, I need limiting and some basic EQ; the alternative is to quit the band. And, yes, I am considering quitting the band, which makes me reluctant to buy anything that I can't turn right around and resell on eBay.

 

[s0c9]

sorry.. wasn't trying to minimize your situation, and I know... there's often much more behind it than is included in the original post.

So....
any decent adjustable compressor, brick-wall limiter type device between your IEM feed and the xmitter should do the job. Meaning the JM 3Q will do the trick.
You could also add a 31-band EQ in the mix if needed. If you want to keep $$ down. B*ringer makes usable items of each.

 

[tekhedd]

If you want to keep $$ down. B*ringer makes usable items of each.

I realize this is probably the right answer, at least for a temporary "will this even work" solution. Blechh...

 

[s0c9]

I realize this is probably the right answer, at least for a temporary "will this even work" solution. Blechh...

Only on the basis that this may not be permanent solution for your IEM's.. so why invest (as you mentioned above) in someone else's band gear that you may not need other than for a short while, or in your next band?

I saved and recently upgraded to the Senn EW G3 system -using 1964 ears, not Senn's.
Well worth the $$.. my old Carvin EM900 system is en-route to it's new owner. Nothing wrong with it at all.. but I like to buy "best of breed" where I can.

 

[walterw]

the idea of using a compressor to "fight" a s**tty IEM mix (with the expectation that it's gonna be squashing) means being stuck with a compressed IEM mix whenever "sound guy" boosts something too much; that's pretty intolerable IMO, for the same reason compressed wedges are a bad idea.

maybe you want a rolls 351-type setup so you just get your own voice and own instrument plus maybe an ambient stage mic to hear the other players, and not take anything from the PA at all.

 

[TedH]

I bought a used dbx 166 limiter on sleazy-bay and it works very well and cost $85. Two channels, so you can send your mic direct to one and the FOH mix to the second, then wireless unit. I have some ART splitters that were $30 per if you need to split your mic to your mix and FOH. Pretty cheap, rack mountable and full control. Hopefully scratches your itch.

 

[walterw]

Two channels, so you can send your mic direct to one...

i don't think the DBX is made to take dynamic mics directly, the XLR ins are probably not mic pres.

besides, if you're routing your mic to your own mix directly, you don't need or want the compressor. the idea of the comp is just for keeping unwanted stuff you have no control over from hitting your ears too loud.

i could see it for comp'ing the "everybody else" band mix you're getting, but only if your own voice and own instrument are coming through un-comp'ed. otherwise your own playing and singing dynamics will get thrown off.