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[Jim Layton]

Perhaps I'm looking in the wrong places for answers to some basic noob IEM questions. My only experience with IEMs was with a couple of early Shure wireless devices. I simply sent an aux feed to the devices instead of a monitor. The guys did not want the full band in their ears. Simple.

I anticipate bands wanting to use IEMs, in my sound world. I've browsed manufacturer websites but still have questions. Set me straight. I assume...

The most basic IEM gets fed an aux from my stage box...just like a wedge...based on what the listener wants in the mix.
The listener will adjust overall vol on their pack.
Best way to prevent clipping from my mix position?

I've read about stereo mixes. How to do this with a mono feed from a stagebox? Assuming I must use two aux feeds with one instruments and one vocals.

If several people are using stereo IEMs...I would have to individually mix every instrument/drum and vocal to their taste.
It seems like it would be easy to make a poor mix since everyone is now an isolated "critical listener" since there is no stage wash/ambient. Appears to be time consuming especially if you don't know the band's music/IEM desires ahead of time...or if the band is new to IEMs.

Comments appreciated.

[Dave Bednarski]

Perhaps I'm looking in the wrong places for answers to some basic noob IEM questions. My only experience with IEMs was with a couple of early Shure wireless devices. I simply sent an aux feed to the devices instead of a monitor. The guys did not want the full band in their ears. Simple.

The most basic IEM gets fed an aux from my stage box...just like a wedge...based on what the listener wants in the mix.

Concept remains the same.  Just a smorgasbord of devices & ear buds to pick from.

The listener will adjust overall vol on their pack.
Best way to prevent clipping from my mix position?

Listener will adjust the overall volume on their bodypack.  There are varying opinions on gain structure, pack/transmitter setup but if you start with the defaults on the equipment and follow a unity gain structure you should be off to a running start.  The user should have enough headroom at the body pack without you having to push it from the mixer.

I've read about stereo mixes. How to do this with a mono feed from a stagebox? Assuming I must use two aux feeds with one instruments and one vocals.

You will burn up two aux mixes and two returns at the stage box unless you are on a board that handles stereo more seamlessly.

If several people are using stereo IEMs...I would have to individually mix every instrument/drum and vocal to their taste.
It seems like it would be easy to make a poor mix since everyone is now an isolated "critical listener" since there is no stage wash/ambient. Appears to be time consuming especially if you don't know the band's music/IEM desires ahead of time...or if the band is new to IEMs.

If people are using 'stereo' or 'mono' you are still individually mixing every instrument/vocal.  If it is stereo you would be mixing their left/right ears differently or the same.  Stereo is often said to be a "game changer" but consider starting with mono and getting happy customers.  Chances are the person on stage is clueless - hard pan stereo is probably distracting and the subtleness of soft panning is lost on most.

It is a challenging thing, can be time consuming, and can add considerable frustration to what would otherwise be a peaceful show on wedges.

[Debbie Dunkley]

I suggest you ask a friendly band if you could use them as guinnea pigs one rehearsal and use that time to experiment. That is what we did.
Ahead of time, get all the transmitters and packs set up and everything wired in. Then at rehearsal, set gains and levels of each instrument the same way you would to a powered wedge and let the user adjust the pack accordingly. Gain structure is important here along with careful and accurate frequency selection.
Stereo can only be done properly if you have stereo mixes available to you on your board. It can be done with 2 mono mixes but is a real PIA.
I am one of those folks who consider stereo iems to be a 'game changer' ( having used both) BUT if only mono is available to you, then mono is your only option.......it is still a better option than wedges IMHO. Many folks here use mono and choose not to go stereo.

[Kevin Conlon]

Perhaps I'm looking in the wrong places for answers to some basic noob IEM questions. My only experience with IEMs was with a couple of early Shure wireless devices. I simply sent an aux feed to the devices instead of a monitor. The guys did not want the full band in their ears. Simple.

I anticipate bands wanting to use IEMs, in my sound world. I've browsed manufacturer websites but still have questions. Set me straight. I assume...

The most basic IEM gets fed an aux from my stage box...just like a wedge...based on what the listener wants in the mix.
The listener will adjust overall vol on their pack.
Best way to prevent clipping from my mix position?

I've read about stereo mixes. How to do this with a mono feed from a stagebox? Assuming I must use two aux feeds with one instruments and one vocals.

If several people are using stereo IEMs...I would have to individually mix every instrument/drum and vocal to their taste.
It seems like it would be easy to make a poor mix since everyone is now an isolated "critical listener" since there is no stage wash/ambient. Appears to be time consuming especially if you don't know the band's music/IEM desires ahead of time...or if the band is new to IEMs.

Comments appreciated.

Mixing in ears takes more time at your end because they can actually hear for the first time. Everything Dave said is good info. I use a digital board most of the time so i rough in a mix and they tweek it on their device. As far as stereo, i rarely use it. I do have some singers who want vocals only in one side, band in the other. I would not want that myself, but i do my best to give them what they want. Are you planning on supplying a full IEM system? or are you just prepping yourself for a band showing up with them? Also if you work with the same band all the time, you almost never change anything.

[Jim Layton]

Mixing in ears takes more time at your end because they can actually hear for the first time. Everything Dave said is good info. I use a digital board most of the time so i rough in a mix and they tweek it on their device. As far as stereo, i rarely use it. I do have some singers who want vocals only in one side, band in the other. I would not want that myself, but i do my best to give them what they want. Are you planning on supplying a full IEM system? or are you just prepping yourself for a band showing up with them? Also if you work with the same band all the time, you almost never change anything.

I am not planning on supplying IEMs. I have two potential applications. One is the small shows I do. Some of the more technical and skilled metal bands are considering IEM so they can hear their instruments better. At my church we are trying and crying to get the vocalists to use IEMs. The band is on Avioms. I believe the church deal will be easy from a technical aspect (fixed singers and stage set-up). A lot of my shows are in "small rooms with big amps" and no guitar micing is used. If IEMs come into play it will be interesting to  deal with "Turn down that cab so I can mic it!" vs what the paying attendees want to feel in their skulls vs. what the band hears in their new ears.

[Tim McCulloch]

Loudest sound at the mic is the winner, but because of bone conductivity singers will "hear" themselves even when they move off-mic.  If the level becomes too low they will turn up their receiver.  You get to then enjoy the cymbals and guitars even more as they never get back on the mic.  Hey, it sounds OK to the singer so it's gotta be "right" for FOH, eh? /sarc

That said, many performers are surprisingly easy to mix IEMs for, not wanting things hugely different than a wedge mix... and others will want a recording-quality mix (a certain country singer who shares my first name is notoriously insistent in this regard).  Players that use generic buds that do provide a high degree of isolation will need a different mix than those who use ear molds.

I'm not on monitors very often these days, but that's what I've gleaned so far...

[Magnus Högkvist]

Assuming I must use two aux feeds with one instruments and one vocals.

Using two mono aux sends will only give You two mono signals, one for left ear and one for right, if You´re not using the Mix Mode. That will give You two mono signals centered.
To get an stereo image You need a stereo aux send.

[Jerome Malsack]

From the Behringer X32 series we can plug in Ethernet cable between the mixer and a P16M device.  This P16M sits near the artist and he can pic from 16 channels of input and adjust his preferences personally then deliver it to the IEM or headphones.

I have also set up on the S16 two stereo sends that I plug into a Behringer HA4600 headphone amp.   Then with a TRS to XLRM extend out to the Elite core or Behringer pm1  XLRF to TRS 1/8 belt pack to  have a wired headphones for the Drummer and Keyboard.    Peavey hp2  has two cables. 

The headphone amp ha4600 or 4700 has more than one headphone out jack per channel,  4 channel.  Allowing me to jack in with my headphones and hear what they hear.
It also has a meter for the level for trouble shooting.   
Has a balance controll to move from the Aux in or the shared input for all four.   

[Stephen Kirby]

My personal experience playing with ears is to put myself in the middle and things important to me for cues (like keyboards or other vocalists) off to the sides.  That way I can shift my focus around and not have to keep asking for changes in the mix (or play with a phone app or Aviom box in front of me).
The loudest signal at the mic thing is part of why IEMs work better on larger stages.  Less bleeding and often an overall louder stage level so there is more going around the ears and they aren't the only source.  In my mind, converting a small bar band to ears is silly.  If they are professional and can balance themselves, it's easier when they can hear the overall stage sound.  Some kids who grow up with modelers all direct and are used to hearing a completed mix can manage it.  Worst case would be amateurs who all need more me and can't balance themselves.  Putting them on ears can help with the on stage volume wars but it will be a nearly full time job managing all the individual mixes.

[Debbie Dunkley]

My personal experience playing with ears is to put myself in the middle and things important to me for cues (like keyboards or other vocalists) off to the sides.  That way I can shift my focus around and not have to keep asking for changes in the mix (or play with a phone app or Aviom box in front of me).
The loudest signal at the mic thing is part of why IEMs work better on larger stages.  Less bleeding and often an overall louder stage level so there is more going around the ears and they aren't the only source.  In my mind, converting a small bar band to ears is silly.  If they are professional and can balance themselves, it's easier when they can hear the overall stage sound.  Some kids who grow up with modelers all direct and are used to hearing a completed mix can manage it.  Worst case would be amateurs who all need more me and can't balance themselves.  Putting them on ears can help with the on stage volume wars but it will be a nearly full time job managing all the individual mixes.

We have been running the little 3 piece for almost 2 years now and have used in ears from the start with virtually no issues - even in the smallest bars. 
Quick frequency scans, hand out packs, hardly a sound check other than a run through with FOH way down (so the guys can tweak here and there)  and pretty much perfect ( or at least our perfect) every time. And did I mention - no feedback issues -YAY!

[Michael Grimaila]

Perhaps I'm looking in the wrong places for answers to some basic noob IEM questions. My only experience with IEMs was with a couple of early Shure wireless devices. I simply sent an aux feed to the devices instead of a monitor. The guys did not want the full band in their ears. Simple.

I anticipate bands wanting to use IEMs, in my sound world. I've browsed manufacturer websites but still have questions. Set me straight. I assume...

The most basic IEM gets fed an aux from my stage box...just like a wedge...based on what the listener wants in the mix.

This depends on if you have a sufficient number of aux outputs available on the stage box. Our band uses six stereo IEM mixes which requires 12 aux outputs. When using our larger setup (e.g., Soundcraft Si Expression 3 and Mini Stagebox 32) we have to place the IEM rack and antennas at FOH due to the limited number of analog outputs (eight) on the Mini Stagebox 32. This works fine for the venues we play (small to medium) since the FOH is relatively near the stage and we use shark fin directional antennas.  When we use our smaller setup (e.g., X32 Rack placed on stage) this is not an issue as there are a sufficient number of outputs (soundman mixes via an iPad).

The listener will adjust overall vol on their pack.
Best way to prevent clipping from my mix position?

It is critical that the gain structure for the IEM mix is properly adjusted for everything to work correctly. Assuming all of the RF settings are correct, it’s a complex combination of the performer’s belt pack volume, the mix contributions, the aux output level to the IEM transmitters, and the stage volume. I would also suggest that you NOT mix a band using IEMs for the first time during a performance as it will likely be a train wreck. The band should already be comfortable and familiar with IEMs. In our case, we use IEMs in practice just as we perform.

Due to the proliferation of low cost digital consoles, performers at the bar band level are now likely want to adjust their own mix contributions using an iPad or phone. In any case, here is a process that I have found to be successful:

Set the initial belt pack mid-volume and the aux output at unity. Turn down everything in the performers mix and first add their own vocal and instrument panned to the center. Then slowly add other vocalists and instruments panned slightly left and right at lower levels. Once the performer’s mix is close, adjust the aux output level to just below clipping (to maximize S/N ratio) and to prevent overdriving the IEM transmitter inputs (which causes limiting and causes the mix to sound crappy). Note that you will not be able to detect this limiting unless you are either listening to an IEM receiver –or- looking at the IEM transmitter front panel (the Sennheiser displays turn RED when overdriving the IEM transmitter). If you have to turn down the aux output, you will need to ask the performer to turn up their belt pack volume so they can continue to hear the mix.

I've read about stereo mixes. How to do this with a mono feed from a stagebox? Assuming I must use two aux feeds with one instruments and one vocals.

While the Sennheiser EW300 IEMs we use has a “focus” mode, we now use it in “stereo” mode so I won't comment.   

If several people are using stereo IEMs...I would have to individually mix every instrument/drum and vocal to their taste.
It seems like it would be easy to make a poor mix since everyone is now an isolated "critical listener" since there is no stage wash/ambient. Appears to be time consuming especially if you don't know the band's music/IEM desires ahead of time...or if the band is new to IEMs.

Comments appreciated.

Yes, each performer will want their own personalize mix.  This is why most are now adjusting their own mix using an iPhone, Android, or iPad even when there is a FOH engineer!

Adding a condenser mic to pick up ambient sound is useful to make performers feel less isolated.  This is yet another reason why its critical for the band to have experience using IEMs before performing with them.  Otherwise, they will likely not perform to their ability due to their discomfort.

[Steve Oldridge]

We have been running the little 3 piece for almost 2 years now and have used in ears from the start with virtually no issues - even in the smallest bars. 
Quick frequency scans, hand out packs, hardly a sound check other than a run through with FOH way down (so the guys can tweak here and there)  and pretty much perfect ( or at least our perfect) every time. And did I mention - no feedback issues -YAY!

Deb, similar situation with my current band.. and we have been doing it for about 2.5 yrs now.
Most of our gigs have house provided FOH, either a full mix by their FOH with us splitting IEM feeds from their stage snake, or us sending them an L/R and mixing FOH ourselves. Both scenarios use our mics, cables, etc.

We now use an X32 Rack (X32R) for IEM mixes (we went over the 16 channel limit that let me use the X32 Producer's CH 17-32 as an IEM layer) and the X32 Producer we use exclusively for FOH.  If WE provide the PA (EV active EKK system) the L/R feeds go to the L or R subs, daisy chained to the tops.

When using the Producer we have a splitter snake that we hook up to, that feeds both boards.. The G3 IEM xmitters are housed in the same rack as the X32R, and when NOT using the Producer, the house splits connect to the X32R.  The splitter + Producer stay home.

We're running 4 stereo IEM mixes - all "performer controlled" via apple or android devices - at EVERY gig, with a single mono mix going to the guitar players wedge. HE cannot make the move to IEM's as he needs to "feel the amp in the room" 
Both consoles are hooked up to the Router (Archer C7) and we use the 5-gig band, staying off the 2.4.

As a frequently gigging bands, the beauty is plug-n-play. Power up and go..
My initial IEM mix is the one I used at the last gig, and I can adjust for this gig.. if needed. 
Plus.. NOTHING FOH does impacts my IEM mix at ANY gig..

[Steve Garris]

My personal experience playing with ears is to put myself in the middle and things important to me for cues (like keyboards or other vocalists) off to the sides.  That way I can shift my focus around and not have to keep asking for changes in the mix (or play with a phone app or Aviom box in front of me).
The loudest signal at the mic thing is part of why IEMs work better on larger stages.  Less bleeding and often an overall louder stage level so there is more going around the ears and they aren't the only source.  In my mind, converting a small bar band to ears is silly.  If they are professional and can balance themselves, it's easier when they can hear the overall stage sound.  Some kids who grow up with modelers all direct and are used to hearing a completed mix can manage it.  Worst case would be amateurs who all need more me and can't balance themselves.  Putting them on ears can help with the on stage volume wars but it will be a nearly full time job managing all the individual mixes.

The bar band I work with has used them successfully for 4 years now. Simple mono feed, and during setup, I only make changes to the lead singers IEM mix. No live monitors on stage, and great sound in the room. I encourage everyone to go to IEM's.

[Michael Grimaila]

As a frequently gigging bands, the beauty is plug-n-play. Power up and go..
My initial IEM mix is the one I used at the last gig, and I can adjust for this gig.. if needed. 
Plus.. NOTHING FOH does impacts my IEM mix at ANY gig..

I love this aspect... We can go from load in to playing in less than an hour.  The consistency of the IEM mix is awesome. It doesn't matter if we are playing a small bar with less than 50 people (common) or a 1000 seat auditorium, the mix is essentially the same.  For most gigs, we have no backline....  which makes the mix consisent.

[Stephen Kirby]

The bar band I work with has used them successfully for 4 years now. Simple mono feed, and during setup, I only make changes to the lead singers IEM mix. No live monitors on stage, and great sound in the room. I encourage everyone to go to IEM's.

Personally, I hate the damn things.  But I'll back down to horses for courses.  For some instruments like bass (where you sit in a different sonic space and hi-fi reproduction is an asset) or drums (where there is so much acoustic bleed that you still hear the natural instrument, albeit with reduced HF, similar to how many drummers practice with ear protection) they aren't so bad.  But for electric guitar players it can be a real struggle.  "Feel the amp" may be a bad way of putting it and play into the stereotype of loud guitar players.  To me, it's a matter of tone production.  If you play with some high gain sound coming from some digital device, or even a high gain preamp cooker tube amp, the sound is going to be pretty static.  You're going to get what you set the knobs to regardless of what you do with your hands.  Piping that processed sound into your ears will sound like you expect.  But for the kind of music (jazz, blues, fusion) that I like, the guitarist's tone production is an essential element.  Michael Landau may use ears touring with some pop artist, but I've never seen him with them on his own gigs.  It's very hard to connect your hands to the 3rd generation noise being shoved into your ears.  For the same reason that an amp up on a tilt back stand 3' from and on axis with the players ears (the 'controlling' sound dudes favorite setup) sounds nothing like the farfield sound of the amp in the room, the sound of a mic a couple inches from the cone fed directly into ones ears doesn't sound like what the audience hears in the room from the PA.  Either the guitarist is forced to ignore the terrible sound in their ears and just play by braille or they start compensating for it with the result of an undesired sound in the room.  Again, folks who live in cans in studios are more used to that divorced sound of their rigs.  People who get their tone from their electronics won't be as affected.  But people who grew up playing in room listening to the sound of their rigs in the room and working to get that sound to be what they want, will be driven nuts by the disconnection of an in-ear feed.  It's all in the application.
It would be interesting to talk to John Mayer (or his monitor engineer) regarding this.  He plays with great tone production and uses in-ears.  But he has ungodly stage volume (very large venues) and could probably hear his rig pretty well with the belt pack turned off.  I suspect he uses the ears to hear his singing and the rest of the band.  With only a taste of his rig fed in to compensate for the HF attenuation.

[Jim McKeveny]

what the listener wants in the mix.

Monitors 101: Never say "want". Say "need".

[Dave Garoutte]

This depends on if you have a sufficient number of aux outputs available on the stage box. Our band uses six stereo IEM mixes which requires 12 aux outputs. When using our larger setup (e.g., Soundcraft Si Expression 3 and Mini Stagebox 32) we have to place the IEM rack and antennas at FOH due to the limited number of analog outputs (eight) on the Mini Stagebox 32.

For the SC Mini stageboxe 32, you can get to the other 8 outs if you add some Graham-Patton DAC-20 to convert each AES out to a pair of XLR analogs.  I found a couple of these on e-bay fairly cheap. 
Also, with my larger PA, I run two of the AES outs into my DR 360 which has AES inputs.  That can give you LR plus two extra channels for sub and front fill.  That frees up the analog outs for monitors.

[Michael Grimaila]

For the SC Mini stageboxe 32, you can get to the other 8 outs if you add some Graham-Patton DAC-20 to convert each AES out to a pair of XLR analogs.  I found a couple of these on e-bay fairly cheap. 
Also, with my larger PA, I run two of the AES outs into my DR 360 which has AES inputs.  That can give you LR plus two extra channels for sub and front fill.  That frees up the analog outs for monitors.

Yes, I considered that solution.  However, we just have not yet needed to do that.

Also, our large PA is probably equal to your small PA... LOL

[Tim Padrick]

In small venues, getting rid of wedges does wonderful things for the sound in the house.  A lot of bar, corporate, and wedding bands here in Indy are on IEMs, and for the most part those bands are more fun to mix, owing to the absence of all that wedge wash.  Many bands are on mono mixes.  Most are mixed from FOH.  My favorite band to mix in small or lousy sounding rooms is the one that has IEMs, direct instruments, and VDrums - the same mix at any level from about 75dB on up.

[Roland Clarke]

Perhaps I'm looking in the wrong places for answers to some basic noob IEM questions. My only experience with IEMs was with a couple of early Shure wireless devices. I simply sent an aux feed to the devices instead of a monitor. The guys did not want the full band in their ears. Simple.

I anticipate bands wanting to use IEMs, in my sound world. I've browsed manufacturer websites but still have questions. Set me straight. I assume...

The most basic IEM gets fed an aux from my stage box...just like a wedge...based on what the listener wants in the mix.
The listener will adjust overall vol on their pack.
Best way to prevent clipping from my mix position?

I've read about stereo mixes. How to do this with a mono feed from a stagebox? Assuming I must use two aux feeds with one instruments and one vocals.

If several people are using stereo IEMs...I would have to individually mix every instrument/drum and vocal to their taste.
It seems like it would be easy to make a poor mix since everyone is now an isolated "critical listener" since there is no stage wash/ambient. Appears to be time consuming especially if you don't know the band's music/IEM desires ahead of time...or if the band is new to IEMs.

Comments appreciated.

It's not as difficult as it sounds.  Assuming that you have a decent mix up and running all you need to do is copy that mix to an alternative aux/auxes and then usually its a bit "more me".  Obviously things like having ambience mic's available can help to give the feeling of being in the room, more important if people have custom moulded ears.  Of course performers may ask for individual tweaks, but 90% of the time you will be very close.

Stereo or mono depends on the artist.  I have a Samba band I work with and we use mono wired between 4 & 8 mixes depending on the configuration.  As they are not using custom ears we don't add the drums generally as they bleed plenty.  Like all monitoring it depends on the situation.

[Stephen Kirby]

In small venues, getting rid of wedges does wonderful things for the sound in the house.  A lot of bar, corporate, and wedding bands here in Indy are on IEMs, and for the most part those bands are more fun to mix, owing to the absence of all that wedge wash.  Many bands are on mono mixes.  Most are mixed from FOH.  My favorite band to mix in small or lousy sounding rooms is the one that has IEMs, direct instruments, and VDrums - the same mix at any level from about 75dB on up.

This is the soundman as producer rather than musician reinforcement.  Depends on the objective and what the venue wants.

If there's anything I hate more than IEMs it's V-Drums.  Played for about 6 months with some folks who insisted on using their V-Drum kit.  Lightswitch dynamic shifts.  And zero tone production.  No matter what you do, the same sound comes out.  Or maybe 2-3 slightly different sounds come out as it jumps between dynamic samples.  Fine if you want the drummer to sound like a drum machine.  But you can't play music with it.  Someone with halfway decent technique can get tons of different sounds out of a snare drum depending on how they hit it.  Where it's hit, the angle of the stick, the amount of bury or snap back to the stick, not to mention how hard.
I'm reminded of some 30 years ago after a lunchtime trip to a music store where I first played with a Korg M1.  I went back to a buddy at work who played both keys and alto sax and was telling him how it sounded "exactly like a sax".  His response was "Who?"  Perfect.  Totally put things in perspective.  It sounded like a machine blowing into a saxophone.  There was no personality.  No music.  V-Drums and guitar modelers are the same to me.  You can plug them all into a stage box and a FOH guy can produce perfectly plastic imitations of music.  But the musicians are hog tied from actually expressing themselves musically. 

My personal goal in SR is to be transparent to the music.  To try and get my system as transparent as I can afford, and to give as much latitude to the musicians to express themselves as I can.  Sometimes things like stage wash from wedges can adversely affect the sound.  But if it helps the musicians play, that is an acceptable trade off to me as opposed to optimizing the sound and taking the artistry out of the music.

OTOH, you have a whole generation of Snarky Puppy folks who grew up with things in their ears and have learned to express themselves hearing themselves that way.  As us old farts die off, IEMs will be the future.  So it's definitely worthwhile to learn how to set them up and mix with them.

[Debbie Dunkley]

This is the soundman as producer rather than musician reinforcement.  Depends on the objective and what the venue wants.

If there's anything I hate more than IEMs it's V-Drums.  Played for about 6 months with some folks who insisted on using their V-Drum kit.  Lightswitch dynamic shifts.  And zero tone production.  No matter what you do, the same sound comes out.  Or maybe 2-3 slightly different sounds come out as it jumps between dynamic samples.  Fine if you want the drummer to sound like a drum machine.  But you can't play music with it.  Someone with halfway decent technique can get tons of different sounds out of a snare drum depending on how they hit it.  Where it's hit, the angle of the stick, the amount of bury or snap back to the stick, not to mention how hard.
I'm reminded of some 30 years ago after a lunchtime trip to a music store where I first played with a Korg M1.  I went back to a buddy at work who played both keys and alto sax and was telling him how it sounded "exactly like a sax".  His response was "Who?"  Perfect.  Totally put things in perspective.  It sounded like a machine blowing into a saxophone.  There was no personality.  No music.  V-Drums and guitar modelers are the same to me.  You can plug them all into a stage box and a FOH guy can produce perfectly plastic imitations of music.  But the musicians are hog tied from actually expressing themselves musically. 

My personal goal in SR is to be transparent to the music.  To try and get my system as transparent as I can afford, and to give as much latitude to the musicians to express themselves as I can.  Sometimes things like stage wash from wedges can adversely affect the sound.  But if it helps the musicians play, that is an acceptable trade off to me as opposed to optimizing the sound and taking the artistry out of the music.

OTOH, you have a whole generation of Snarky Puppy folks who grew up with things in their ears and have learned to express themselves hearing themselves that way.  As us old farts die off, IEMs will be the future.  So it's definitely worthwhile to learn how to set them up and mix with them.

I am so pleased that although our guys do not use backline (which I LOVE) and all use iems (which I also LOVE),  I agree with Stephen regarding drums.
Thank goodness the bands we work with (and are in) all use REAL drums and more importantly REAL drummers. I'll take all the miking and positioning and transporting, cabling, setting stands and clamps and EQ'ing issues that come with a real drum set over electronic drums every day!!....
When I see E drums being loaded onto the stage at a show where  I am running sound and get handed 2 cords (if I'm lucky),  my heart sinks and I give out a faint audible sigh.......

[Tim McCulloch]

I am so pleased that although our guys do not use backline (which I LOVE) and all use iems (which I also LOVE),  I agree with Stephen regarding drums.
Thank goodness the bands we work with (and are in) all use REAL drums and more importantly REAL drummers. I'll take all the miking and positioning and transporting, cabling, setting stands and clamps and EQ'ing issues that come with a real drum set over electronic drums every day!!....
When I see E drums being loaded onto the stage at a show where  I am running sound and get handed 2 cords (if I'm lucky),  my heart sinks and I give out a faint audible sigh.......

Yepper.

Please, please give me separate outputs if we must have e-drums.  I can achieve some semblance of balance - both tonal and level - when I don't have to fight the drummer's headphone/wedge eq or hearing loss compensation... or just plain FUBAR drum settings that have no basis in how a kit should sound.

[Steve Garris]

Yepper.

Please, please give me separate outputs if we must have e-drums.  I can achieve some semblance of balance - both tonal and level - when I don't have to fight the drummer's headphone/wedge eq or hearing loss compensation... or just plain FUBAR drum settings that have no basis in how a kit should sound.

As stated I'm a huge fan of IEM's and no wedges. Regarding E drums, I have one act locally that uses them. It's a Def Leppard tribute act, and they are very good. I get 4 feeds - kick, snare 1, (foot pedal triggered) snare 2, and toms. I have to mix the snare much louder than I'm used to, but the kit sounds fantastic.

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