Hi Dwight,

I think we discussed this many threads ago .. Did
you try searching for in ear monitors?

But, yes .. I had used them with my 6-peice band and
I had used them a lot!

What kind of questions do you have?

--Biggy

I remember talking about it, but couldn't find the thread on an archive search.

Just wondering which model you use, and what, if any, problems you run into? There's $200 models and $600 models. I'd like to know what would cause me to buy the more expensive model.

The Audio Technica M2 gets good reviews. The Nady reviews say there's a lot of white noise. Mostly I'm listening for beat, but would need to hear my intonation on the violin too.

Dwight,

Do a Forum search for "in-ear", not "in ear". The original
thread had a hyphen between the words "in" and "ear".

I had used the Shure brand. I think each receiver was
about $200.

There are definitely pro's and con's. One of the best
thing is not not have to lug around those darned
heavy wedges and monitor amp that no one else will
help you with.

One of the worst things is the requirement of having
someone run your mixing console that is adept but
works for cheap (the fundamental problem of the
entire music performance business I may add.)

Case-in-point .. We were using these monitors and,
of course, someone has to have their monitor louder,
louder, LOUDER! So the sound guy tweaks the drive
level from the board. Well, he also needs to keep an eye
on the level meter on the transmitter in order to
keep it out of the red.

Of course, if the sound guy doesn't understand concepts
such as head-room and drive level, your performance
is at the mercy of his ignorance.

And these kinds of errors *really* destroy a
performance for me quickly!

Imagine rehearsing a piece for years and spending
thousands to make it sound good and some goof ball throws
it all out the window with the turn of a knob and
then has a beer.

Woops! I digress .. sorry ..

But, you get the idea

As Gilda Radner says: "nevermind"

--Big

We have the new Carvins. use them in practice and they work great. I especially like them for my vocals. HAve not used them at a gig yet because of the difficulty in setting up in a gig situation and we never seem to have enough time so it is still a work in progress. But, once we get the set up and mix down I want to use them instead of monitors all the time. No feedback and you an hear the vocals. With monitors, as the night goes on I hear less and and end up playing by feel. JMHO

I agree with what everyone one said about in-ear
monitors because the exhibit both good and bad!

Right now, the band that I'm playing with does *not*
use them.

But I was considering rigging up just one for myself
after a recent gig. Then again, we had 7 musicians
on stage and that makes for alot of noise in the
monitors.

Have you ever had the situation where the monitors are
loud but you can't hear yourself? The answer is *not*
to add more volume! The solution is to turn everything
down. But that's like taming the economy or insurance
costs. "Cut someone else's benefits"

Of course, the best way to mix any audio is to
subtract, not add.

(Too litte "highs" in the out-fronts? Cut the mids
or lows. Don't keep adding to the mix.)

--big

Ok, so, I have small ears, so, I have to find a headshrinker?

I been at the mixing board for many different bands, a handful of which have used in-ear monitors. It's an expensive option, and the best rig includes a on-stage splitter/mixer so that the band has complete control over their own in-ears (not cheap by any means).

Putting up a mic that is aimed at the audience and sent (at modest level) to the in-ears helps with the crowd connection.

Loud wedges really muddy up the sound in an acoustically live space, so in-ears can contribute greatly to a clean sound.

And Big - I have cringed (or left early) many a time because of bad sound tech work. I've also had the experience of bands that were their own worst enemy; sometimes in the "more me in the monitor" department, and often in the "the world really needs to know how my bass amp can thunder" department.

Best bet with a new place or tech: pull a good stage plot and tech rider together, or have a detailed talk on the phone a few days before the gig. Get there early and plan to spend a little time easing levels up and eq'ing to taste.

Steve

a ll good ideas but too much trouble if the venue is a long way off, or the fee is $250

wle

In-ears? Really? Okay... unless you have one hulluva American Idol voice with a 9-piece harmonizing back-up to boot, why on Earth would you consider such a ding-dong-ditch piece-of-hyphenation-crap to take place of a Q-Tip? I like to talk to my band sometimes between songs, me. Feel the monitor in my face and set my beer next to it.

Hey... Make sure you buy that matching headset microphone to go with the monitorererers. And don't forget the matching cyborg bluetooth wireless headset phone. K? Justin Beiber likes 'em in-ears things. He don't play no coonass tunes and probably never smelled a lit Marlboro on the dance-floor in front of him. In-ears... funny dude. Bad idea. And furthermore, they make me feel like I'm in one of those boats that go under the water. Speaking of... crawfish in Lake Charles is like $2.80/lb. this weekend? They jack those prices up because of Easter. Market Basket... sucks. I better go to Eunice.

quote: Justin Beiber likes 'em in-ears things. He don't play no coonass tunes and probably never smelled a lit Marlboro on the dance-floor in front of him.


hahahaha thats awesome

you're hardcore pete moss. we should play some tunes. I like your attitude.

I like the way you talk.