EBS_freak

Makes for interesting reading! - https://metro.co.uk/2019/06/18/new-breakthrough-pill-could-cure-tinnitus-10006638?ito=social

Anyway, how has this thread got this far without mentioning his signature JB-4?

Just had a look at the stats - thanks to all the people that have checked it out. Basschat seems to have sent a fair few viewers to Youtube! Much appreciated for listening (even in part!) to mine and Steve's ramblings. (Although to be honest, Steve is mostly there for visual entertainment value on this one! :p) More randomness soon when I get round to editing - I've got a fair few theory ones to do - and they take an absolute age!. Also - quite cool to see the top three threads in this area of the forum seem to be on IEMs right now!

There's the magic quad driver customs! Yup - they are super, super important... especially when it comes to bass! As for the haptic monitoring... yeah, working on that! 😛

And let me guess, you feel it out of phase? Or should I say, with a significant delay.

Nick describes one of the best "hacks" (for want of a better word) that you can do with a digital desk. That split on a single desk gives you a monitor world and foh desk in one (obviously you'll need enough channels on the desk to double up on stuff that you'll want to process differently for your inears). It's very rare that what you want to hear in your IEMs is the same as what you'll want foh. Some of the time, we just have to deal with it - eg, just come off the aux with only a master EQ and maybe a compressor over that aux bus. Lets face it, that's still pretty cool. As Nick states however, the ability to put a cab emulation in place, or different EQs per channel for example, is a powerful way of supercharing your IEM mix. Think about this - if you boost the bass for you IEMs, especially in the low end, to give you that big thumpy bass we all like, you are going to be killing people out front - especially if you are running subwoofers. You aren't going to be wanting that bass EQ to the vocal however, which is what you are limited to with just the final EQ over the aux bus output. Again, being able to run different processing in your ears, in terms of reverbs etc, is also really nice. A lot of the time you'll want mono out front, but things like tight stereo delays can really help thicken up that IEM mix. Digital desks are modellers are so good now, its a great way to simplify your setup, give you a better sound out front... and save your ears. I hate gigging without my IEM mix.

Ah cool - so are you doing a FOH/Monitor split? To be honest, unless you are doing anything particularly fancy with your tones, you should give a DI straight into the desk ago. If you have a separate desk, you can manipulate your bass EQ/comp etc for your ears til the cows come home... and then you have a clean DI feed for your FoH engineer.

Just realised I've never answered the OP question - I send everything to the PA and do a separate monitor mix for myself (I actually run a second desk just for IEMs for extra processing independent of FOH -- but that is overkill for most people) where I can set the volume and stereo position for every instrument on the stage. I also have another aux that feeds a haptic bass board that enables me to put in a blend of kick and my bass. (Some people like just bass, I like to feel the kick too). - I find this the most intuitive way of doing things... but what @Higgie describes is also a popular alternative, especially if you haven't got immediate control of your monitor mix - this is "the more me" setup.. however, you will then be running in mono unless you put another submixer in the setup. The only downside of this, is that if you are blending the bass signal with what is coming back from a (digital) mixer, you can introduce phasing issues, as the processing through A/D and D/A conversion will add latency, shifting the signals out of phase. In reality, most people won't even notice this.

"Feeling the bass" is a bit of over exaggerated term in my experience. When you stand in front of your amp, you aren't really capturing that feeling of "big air". Try it with your amp - pump that volume up and see how hard you have to drive it to get even the remotest feeling of "trouser flap". You are more likely feeling the vibrations through the attached surfaces. In which case, get a haptic feedback device, be it something like a platform, woojer or backbeat. Conversely - a rehearsal room is nowhere representative of gigging environments. Or maybe that's my experience. Rehearsal rooms - smallish, highly reflective rooms where you don't play or even want to play at gig volumes...or certainly shouldn't be if you want to avoid a mic swarming with feedback. I'd be surprised it you run your gear at gig volumes in a rehearsal room to get a representative idea of whats going on. The big, big plus for IEMs is that within reason, it keeps your monitoring in a much tighter ballpark - with very little changes from gig to gig or even rehearsal room to gig. It effectively takes the room (the biggest variable) out of the equation. Yes, it can be a bit of a change to get used to... but for the vast majority of people doing IEMs properly (and this is the key word - properly) - they'll never go back to the tinnitus and lumping of backline.

I've got to the stage where if it's an unknown dep guitarist and I have no idea about how disciplined they are with their amp, it's a modeller with inears only.

...and clearly didn't give a hoot about what that was doing to the foh sound that is ultimately, what should be given the priority.

You've told me quite an important piece of information there. The fact that you are saying that the guitar is the right level for the drums... on stage, I would expect the drums to be the loudest instrument and the guitar to be significantly lower in volume than the drums. My thinking is like this - Guitar cabs are VERY directional. This means, if you audience are standing right in front of the stage area with the guitar amp, they are going to get blasted. If they stand off axis, eg are watching from the other end of the stage, the likelihood is that the guitar will be low in the mix and the drums will be swamping the sound. Consider bringing the volume right down and letting the PA do all the work. You'll get a better dispersion meaning no hot or dead spots for the audience. I understand about driving amps and getting the "tone". But the tone is no use if the band sound pants as a consequence. With the modellers that are out there, there is zero reason you can't get a killer guitar tone with a silent/near silent stage. If the guitarist wants a traditional amp, get it into an iso box and mic it up - -and again, put it through the PA. You need to work as a band. Bands don't always play large stadiums.. so be smart and work to the size venues you have. If that means going quieter onstage and going down the modelling route - do it, your band will sound infinitely better for it too.

I had a look on Youtube and there didn't seem to be anything quite like the above video so I thought... well... why not. And this thread, as mighty as it is... I suppose if like finding needles in haystacks for people. I'm hoping that the intro videos that I have done will get people up to speed. It'll certainly take you longer than an hour to find all the above info in this thread for example. Having said that, there will still be people who want instant answers without watching the vid! But hey.

Here's some things to try - 1. Different tips - you may not be getting the best isolation from the stock KZ tips 2. Turn the amp down and let the PA do the work 3. Consider ditching the amp and going the modelling route 4. Deploy the acrylic screens of shame in front of the amps to try and block the intensity of the sound coming from the amp (assuming that the amp is miced). 5. Start saving for some customs

I think that the ampless thing is mostly about simplifying setups and making the PA easier to deal with. The less mics the better. Let’s face it, most people can’t deal with their own rig let alone a PA.

Was funny - just before we shot this, I even said at the time of the incident, "watch me do something really stupid now..." - and then I did. As you can tell, this is a brain dump really to help people new to the game - so there's probably nothing in there that you aren't already aware of... but you know. As I say, also got some other stuff coming up to go along with this video... and we've done loads of theory stuff too.

Save your back. Get as small a rig as possible. Ampless means less mush going into open mics on stage and a better sound outfront (assuming your PA can take bass OK). DI straight into the PA. If you want some sort of drive/speaker emulation or something like that, the Helix Stomp is a good bet.

Perfect - realistically, the only things that may change are the open mics... but even then, those changes are mostly minimal. The other great thing about running things like "Helii" is that you can get a great sounding stereo mix, even if it's mono out front. Having two amps on stage and micing them up... well, it's always going to be a bit of a compromise. Its the same with keys - mono out front - but having a Hammond stereo Leslie in your ears... well, that's cool as.

I’m guessing pretty much all of this has been covered in the thread already... but I did a “new to IEMs video”... lots of content in there, including dinosaurs. Don’t worry, got some on the wireless, mic source and stuff coming too. Just an unscripted brain dump really... but enjoy (if you have an hour to spare!)

Diva most probably vs singer who knows what they want and get on with it.

Total noobs then. The idea of an ears mix, is that with all the close micing/DI there should be no to limited changes and the venue becomes insignificant.

The EQ is one that I think will be really powerful... should help with notching troublesome frequencies as well as giving some good instantly recallable tone sculpting options. On paper, gets a big thumbs up from me.

How good does this look? This looks like exactly the thing I've been looking for for ages... https://www.boss.info/uk/products/eq-200/ In fact, all the new 200 series stuff looks pretty ace...

Meanwhile, in a bar in south London, 500 Superdry tee wearers enjoy a quiet natter over a pint.

Huh?