1420 Chapter 37
37.4 Choosing a System
Given the personal nature of in-ear monitoring,
choosing the right system is an important step. Several
choices are available. Present as well as future needs
should be taken into account before making an
investment.
Personal monitor systems come in two basic vari-
eties—wireless or hardwired. A hardwired system
requires the performer be tethered to a cable, which is
not necessarily a negative. Drummers and keyboard
players who stay relatively stationary, or even backup
singers, can take advantage of the lower cost and greater
simplicity of a hardwired personal monitor system.
Simply connect the monitor sends to the inputs of the
hardwired system and dial up a mix. Hardwired systems
also work worldwide without the hassle of finding clear
frequencies or dealing with local wireless laws and
codes. Lastly, if several performers require the same
mix, hardwired systems with sufficiently high input
impedance can be daisy-chained together without
significant signal loss. Alternately, a distribution ampli-
fier could be used to route a signal to multiple hard-
wired systems. A distribution amplifier takes a single
input and splits it to multiple outputs, often with indi-
vidual level control.
Wireless equipment, by nature, requires special
considerations and attention to detail. But the advan-
tages many times outweigh the increased cost and
complexity. One of the main benefits of personal moni-
tors is a consistent mix no matter where the performer
stands; going wireless allows full exploitation of this
advantage. Additionally, when several performers
require the same mix, hooking them up is even easier.
As many wireless receivers as necessary can monitor
the same mix with no adverse effects.
Secondly, consider the travel requirements, if any, of
the users. Most wireless equipment, whether it is a micro-
phone system or personal monitors, transmits on unused
television channels. Since these unoccupied channels will
be different in every city, it is imperative that appropriate
frequencies are chosen. For a group that performs only in
one metropolitan area, or for a permanent installation,
once a good frequency is chosen, there should be no need
to change it. However, for touring acts, the ability to
change operating frequencies is essential.
The following important specifications for selecting
wireless microphones also apply when selecting a
personal monitor system:
- Frequency range.
- Tuning range (bandwidth).
- Number of selectable frequencies.
- Maximum number of compatible frequencies.
37.5 Configuring a Personal Monitor SystemChoosing the proper system requires some advance
planning to determine the monitoring requirements of
the situation. At a minimum, the three questions below
require answers:- How many mixes does the situation require.
- Will the monitor mix be stereo or mono.
- How many monitor mixes can be supplied by the
mixing console.
This information directly relates to the equipment
needed to satisfy the in-ear monitoring requirements of
the performers. The following example details the
thought process involved in deciding how to configure a
system.37.5.1 How Many Mixes Are Required?The answer to this question depends on how many
performers there are, and their ability to agree on what
they want to hear in the monitors. For example, typical
rock band instrumentation consists of drums, bass,
guitar, keys, lead vocal, and two backup vocals
provided by the guitar player and keyboardist. In a
perfect world, everyone would want to listen to the
same mix, so the answer to this question would be one
mix. However, most real-world scenarios require more
than one monitor mix. An inexpensive configuration
uses two mixes, one consisting of vocals, the other of
instruments. Using a system that features dual-mono
operation, the performers individually choose how
much of each mix they wish to hear, Fig. 37-8. This
scenario is a cost-effective way to get into personal
monitors, yet still requires a fairly good degree of coop-
eration among band members.
Another scenario gives the drummer a separate mix,
Fig 37-9. This option works well for two reasons:- Drummers, in general, will want to hear consider-
ably more drums in the monitors than other band
members. - For bands who perform on small stages the drums
are so loud that they are easily heard acoustically
(with no additional sound reinforcement). Therefore,
drums may not even be necessary in the other mixes.
Now there are three mixes—the vocal mix, the
instruments (minus drums), and the drummer’s mix.