In-ear monitor

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JH Audio JH16 Pro IEMs, with a custom-molded hard acrylic shell JH16 Pro.png
JH Audio JH16 Pro IEMs, with a custom-molded hard acrylic shell
Sensaphonics 2XS in-ears, with a custom-molded soft silicone shell Sensapnhonics-2xs.jpg
Sensaphonics 2XS in-ears, with a custom-molded soft silicone shell
Elize Ryd wearing in-ear monitors during a concert in 2018 Amaranthe - Wacken Open Air 2018-2616.jpg
Elize Ryd wearing in-ear monitors during a concert in 2018

In-ear monitors, or simply IEMs or in-ears, are devices used by musicians, audio engineers and audiophiles to listen to music or to hear a personal mix of vocals and stage instrumentation for live performance or recording studio mixing. They are also used by television presenters to receive vocal instructions, information and breaking news announcements from a producer that only the presenter hears. They are often custom-fitted to an individual's ears to provide comfort and a high level of noise reduction from ambient surroundings. Their origins as a tool in live music performance can be traced back to the mid-1980s. [1]

Contents

A stage monitor system is any system that provides a mix of audio sources to a performer on stage. Traditionally, loudspeakers were placed on the stage directed toward the performers. These loudspeakers can have disadvantages. First, floor wedges greatly increase the onstage volume, in some cases to potential hearing damage levels. Second, while floor wedges can be placed in front of a particular singer, guitarist, bassist, or drummer, the other musicians can often hear the other musicians' wedge mixes. In a sophisticated monitoring system, every band member can have their own monitor mix, which is their particular preference of vocals or instruments.

Since performers wear an IEM in each ear, they can also hear a stereo mix if a particular monitor system allows it. This can allow the additional definition of the audio by panning different elements (vocals, drums, etc.) to each ear. More recent advances allow the user to adjust the amount of ambient noise filtered by the IEM.

One additional consideration for mixing IEMs is that while eliminating floor wedges can improve the overall clarity of the mix for the performers and decrease the overall volume onstage, one important piece that is often lost is crowd noise and crowd comments, such as the audience calling for an encore. It is not uncommon for a microphone to be placed near each side of the stage, facing the audience, to provide a method to capture some of the crowd noise and audience comments back into the performers' IEM mixes. Larger live shows can have several microphones for this purpose spread across the front of the stage, which can also be sent to a multitrack recording device used in an outside broadcast production truck, or other destinations.[ citation needed ]

Transmitter and receiver

A case of in ear monitor receivers IEM Receiver Packs.jpg
A case of in ear monitor receivers

Most professional stage in-ear monitor systems use wireless technology to send the mix to the IEMs. This type of system consists of a stationary offstage transmitter and an onstage receiver (about the size of a deck of cards) that is worn by the performer. There is generally a transmitter for each monitor mix and there is always a receiver for each IEM. The transmitters usually output either one stereo mix or two mono mixes. When the transmitters are set up for two mono mixes, one transmitter can be used for two different mixes. Any number of receivers can receive a single mix.

The transmitters and receivers transfer audio wirelessly via a VHF or UHF radiofrequency. Generally speaking, UHF systems sound much better than VHF systems and are more expensive. [2] UHF systems usually are less susceptible to frequency interference which adds to their level of quality. [3]

Earpieces

A pair of universal IEM earpieces (Etymotic ER-4S) InEarMonitors.jpg
A pair of universal IEM earpieces (Etymotic ER-4S)

The in-ear monitors themselves are the last stage of the signal path in the system. They are placed in the external ear canal and seal against its sides; the effectiveness of this seal is a major part of the effectiveness of the IEM.

Universal IEMs typically include a variety of foam and silicone tips in each pack, with the goal that one pair may create a comfortable seal for the user's ears. If a universal IEM earpiece does not fit a specific person, they may need to order custom in-ear monitors. If there is not a good seal, ambient noise leakage is increased.

Custom molded IEMs are more comfortable to wear and better isolate ambient noise. Depending on the quality of the fit and length of the canal portion of the earpiece, a custom fit in-ear monitor will generally provide somewhere between 25 and 34 decibels of noise reduction. This means that loud onstage instruments, such as drum kit or large 8x12" guitar stacks, are less likely to cause hearing damage for onstage musicians wearing IEMs.

Custom in-ear monitors come in a variety of colors but are usually clear or a color that closely matches the skin color of the performer. Some manufacturers can also place custom artwork directly on the custom in-ear monitors. The IEM cable plugs into a 3.5 mm stereo jack on the receiver pack; typically clipped onto the belt, guitar strap, clothing of the performer, or placed in a pocket. Impressions for custom in-ear monitors are typically taken by an audiologist.  To achieve maximum isolation, the audiologist should use a high-viscosity impression material with a deep impression of the ear canal. The musician should also mimic their embouchure while the impression material is setting so that the fit is comfortable while performing. Custom in-ear monitors made of a softer silicone material can be inserted deeper in the ear canal and will provide more isolation from outside noise. [4] [5]

Some performers desire a more natural sound from their IEMs with both the music mix and ambient sounds. Passive ambient IEMs have a small hole drilled into the earpiece to allow some natural ambient sound into the ear canal. This can potentially lead to increased sound exposure as it reduces the signal-to-noise ratio for the mix and causes the musician to increase the levels from the IEM. Active ambient IEMs use external microphones to reproduce the ambient sound in the mix that mimics the frequency response of the open ear and may sound more natural to the performer. [5] [4]

Television studios use earpieces with a specialized type of intercom called an interruptible foldback (IFB), as a means of communication.

Driver technology

Balanced armature

Originally invented for hearing aids, balanced armature drivers are nowadays used extensively in modern in-ear monitors. [6] [7] [ self-published source? ] [8] In-ear monitors can function with as little as one armature driver but some of the top models of in-ear monitors can carry as many as 18 balanced armature drivers for faster response, higher dynamic range, and more detailed sound. Notable examples include the Ultimate Ears Pro UE LIVE (6 balanced armature drivers and 2 dynamic drivers), JH Audio's Layla (12 balanced armature drivers), Noble Audio's K10U (10 balanced armature drivers), and 64 Audio's A18t (18 balanced armature drivers).

Dynamic

The dynamic driver contains a diaphragm with a voice coil attached to it.  When an electric current passes through, the voice coil vibrates between the two permanent magnets resulting in the diaphragm moving and producing sound. Adherents of the dynamic driver cite better bass response. [7] [ self-published source? ]

Wire

IEMs typically feature a wire-over-ear or wire (straight) down design.

Wire down is easier to put in with one hand, making it more popular for casual use, where it maybe inserted and removed multiple times per day. It can also be more comfortable, as wearing wire-over-ear with glasses may cause extra pressure and chafing behind the ears.

Wire-over-ear is preferred for professional use, providing a more discreet (run wire behind back, in shirt), secure fit (wire hooks onto ears) with reduced microphonics.

Some wires may come with MMCX connectors to allow replacement once worn out, add-ons like in-line microphone or bluetooth connectivity or upgrading to cables of higher quality or different appearance.

Safety

Many performers choose to use IEMs as a way to reduce their overall exposure to loud sound and prevent hearing loss. However, education on the use of IEMs is a crucial factor for limiting exposure as performers have a tendency to set their IEMs to similar intensity levels that were previously used in their floor monitors. Musicians need to train themselves to listen at lower levels to take full advantage of the sound level reduction capability of IEMs. [4]

Some musicians with two IEMs may choose to take out one of them during a performance to hear more ambient sound. The increased risk of hearing damage in this scenario are twofold. Removing one IEM negates the improvement in signal-to-noise ratio from isolation and the binaural summation effect which causes an increase in perceived loudness from using two sound sources.[ clarification needed ] Therefore, the performer will likely turn up the IEM in the other ear to improve the signal-to-noise ratio. Also, the ear without an IEM is potentially exposed to loud ambient sound. [4] [5]

Many IEMS use peak limiters or compressors to limit potential damage from sudden loud sounds. However, this does not prevent the performer from turning up the IEM to unsafe levels. [5]

See also

Related Research Articles

In telecommunications and professional audio, a balanced line or balanced signal pair is an electrical circuit consisting of two conductors of the same type, both of which have equal impedances along their lengths, to ground, and to other circuits. The primary advantage of the balanced line format is good rejection of common-mode noise and interference when fed to a differential device such as a transformer or differential amplifier.

<span class="mw-page-title-main">Microphone</span> Device that converts sound into an electrical signal

A microphone, colloquially called a mic, or mike, is a transducer that converts sound into an electrical signal. Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio engineering, sound recording, two-way radios, megaphones, and radio and television broadcasting. They are also used in computers and other electronic devices, such as mobile phones, for recording sounds, speech recognition, VoIP, and other purposes, such as ultrasonic sensors or knock sensors.

<span class="mw-page-title-main">Headphones</span> Device placed near the ears that plays sound

Headphones are a pair of small loudspeaker drivers worn on or around the head over a user's ears. They are electroacoustic transducers, which convert an electrical signal to a corresponding sound. Headphones let a single user listen to an audio source privately, in contrast to a loudspeaker, which emits sound into the open air for anyone nearby to hear. Headphones are also known as earphones or, colloquially, cans. Circumaural and supra-aural headphones use a band over the top of the head to hold the drivers in place. Another type, known as earbuds or earpieces, consists of individual units that plug into the user's ear canal. A third type are bone conduction headphones, which typically wrap around the back of the head and rest in front of the ear canal, leaving the ear canal open. In the context of telecommunication, a headset is a combination of a headphone and microphone.

<span class="mw-page-title-main">Mixing console</span> Device used for audio mixing

A mixing console or mixing desk is an electronic device for mixing audio signals, used in sound recording and reproduction and sound reinforcement systems. Inputs to the console include microphones, signals from electric or electronic instruments, or recorded sounds. Mixers may control analog or digital signals. The modified signals are summed to produce the combined output signals, which can then be broadcast, amplified through a sound reinforcement system or recorded.

Balanced audio is a method of interconnecting audio equipment using balanced interfaces. This type of connection is very important in sound recording and production because it allows the use of long cables while reducing susceptibility to external noise caused by electromagnetic interference. The balanced interface guarantees that induced noise appears as common-mode voltages at the receiver which can be rejected by a differential device.

<span class="mw-page-title-main">Hearing aid</span> Electroacoustic device

A hearing aid is a device designed to improve hearing by making sound audible to a person with hearing loss. Hearing aids are classified as medical devices in most countries, and regulated by the respective regulations. Small audio amplifiers such as personal sound amplification products (PSAPs) or other plain sound reinforcing systems cannot be sold as "hearing aids".

<span class="mw-page-title-main">Sound reinforcement system</span> Amplified sound system for public events

A sound reinforcement system is the combination of microphones, signal processors, amplifiers, and loudspeakers in enclosures all controlled by a mixing console that makes live or pre-recorded sounds louder and may also distribute those sounds to a larger or more distant audience. In many situations, a sound reinforcement system is also used to enhance or alter the sound of the sources on the stage, typically by using electronic effects, such as reverb, as opposed to simply amplifying the sources unaltered.

<span class="mw-page-title-main">Earplug</span> Device to protect ears from loud noises

An earplug is a device that is inserted in the ear canal to protect the user's ears from loud noises, intrusion of water, foreign bodies, dust or excessive wind. Since they reduce the sound volume, earplugs may prevent hearing loss and tinnitus, in some causes.

Shure Incorporated is an audio products corporation headquartered in the USA. It was founded by Sidney N. Shure in Chicago, Illinois, in 1925 as a supplier of radio parts kits. The company became a consumer and professional audio-electronics manufacturer of microphones, wireless microphone systems, phonograph cartridges, discussion systems, mixers, and digital signal processing. The company also manufactures listening products, including headphones, high-end earphones, and personal monitor systems.

<span class="mw-page-title-main">Ultimate Ears</span> American audio equipment manufacturer

Ultimate Ears is an American custom in-ear monitor (IEM), speaker, and earphone manufacturer based in Irvine and Newark, California, United States.

<span class="mw-page-title-main">Shure SM58</span> Professional cardioid dynamic microphone

The Shure SM58 is a professional cardioid dynamic microphone, commonly used in live vocal applications. Produced since 1966 by Shure Incorporated, it has built a reputation among musicians for its durability and sound, and is still the industry standard for live vocal performance microphones. The SM58 is the most popular live vocal microphone in the world. It is a development of the SM57 microphone, which is another industry standard for both live and recorded music. In both cases, SM stands for studio microphone.

<span class="mw-page-title-main">Wireless microphone</span> Microphone without a physical cable

A wireless microphone, or cordless microphone, is a microphone without a physical cable connecting it directly to the sound recording or amplifying equipment with which it is associated. Also known as a radio microphone, it has a small, battery-powered radio transmitter in the microphone body, which transmits the audio signal from the microphone by radio waves to a nearby receiver unit, which recovers the audio. The other audio equipment is connected to the receiver unit by cable. In one type the transmitter is contained within the handheld microphone body. In another type the transmitter is contained within a separate unit called a "bodypack", usually clipped to the user's belt or concealed under their clothes. The bodypack is connected by wire to a "lavalier microphone" or "lav", a headset or earset microphone, or another wired microphone. Most bodypack designs also support a wired instrument connection. Wireless microphones are widely used in the entertainment industry, television broadcasting, and public speaking to allow public speakers, interviewers, performers, and entertainers to move about freely while using a microphone without requiring a cable attached to the microphone.

Westone is an American manufacturer of custom earpieces for the hearing healthcare market, hearing protection products, custom communications earpieces, clinical and audiological supplies, musicians hearing protection and in-ear monitors for professional musicians and audiophiles.

<span class="mw-page-title-main">Mobile radio</span> Wireless communications systems using radio frequencies

Mobile radio or mobiles refer to wireless communications systems and devices which are based on radio frequencies, and where the path of communications is movable on either end. There are a variety of views about what constitutes mobile equipment. For US licensing purposes, mobiles may include hand-carried,, equipment. An obsolete term is radiophone.

Audio signal flow is the path an audio signal takes from source to output. The concept of audio signal flow is closely related to the concept of audio gain staging; each component in the signal flow can be thought of as a gain stage.

<span class="mw-page-title-main">Stage monitor system</span> Sound reinforcement for performers

A stage monitor system is a set of performer-facing loudspeakers called monitor speakers, stage monitors, floor monitors, wedges, or foldbacks on stage during live music performances in which a sound reinforcement system is used to amplify a performance for the audience. The monitor system allows musicians to hear themselves and fellow band members clearly.

Interruptible foldback (IFB), also known as interrupted foldback, interruptible feedback, or interrupt for broadcast, is a monitoring and cueing system used in television, filmmaking, video production, and radio broadcast for one-way communication from the director or assistant director to on-air talent or a remote location. The names are backronyms for the Telex IFB-XXX model line. Less common names for the system include program cue interrupt (PCI) and switched talkback. IFB is often facilitated using an earpiece that on-air persons wear to get cues, feedback or direction from their control rooms. The earpiece itself may also be referred to as an IFB. Sometimes IFB is accomplished by the director talking to off-camera personnel who visually cue the on-camera talent.

Jerry Harvey is an American sound engineer best known for inventing, along with Karl Cartwright, a series of customized dual-speaker in-ear monitors in 1995. He founded Ultimate Ears that same year, and in 2007, founded JH Audio. He has served as the sound engineer for artists as varied as Van Halen, Kiss, Morrissey, the Cult, the Knack, David Lee Roth, Mötley Crüe, k.d. lang, and Linkin Park.

<span class="mw-page-title-main">UE 900</span>

UE 900 and UE 900S are noise-isolating earphones manufactured and marketed by Logitech, under the Ultimate Ears brand. They are aimed at listeners who prefer neutral sound signature. They are rated as one of the best ear phones in its price range by CNET.

Talkback, or in-eartalkback, is a device used by directors and producers to talk directly to the anchor or the host of the show. This device enables the show directors to send out commands, instructions, content information and even the complete script to the anchors or hosts of the show. Talkback consists of an earpiece made of silicon or foam bud that sits just inside the left or right ear, attached to a curly or straight acoustic tube that goes around and behind the ear, then down the back of the neck to a wireless receiver. There is an optional collar clip to hold the cable in place, and hair/clothing can be used to hide the kit as much as possible. The volume of the speech coming through the earpiece can be adjusted. The wireless receiver gets signals from a transmitter. An audio mixer placed in production control rooms (PCR) would be wired to the transmitter. The input for the audio mixer would come from a microphone in which the director speaks and sends out information. This information is carried to the talkback and the host follows the instruction.

References

  1. Ward, Phil (Oct 24, 2016). "Genius!2: Chrys Lindop and IEM (in ear monitoring) #6". Archived from the original on 2019-01-28. Retrieved 2019-01-27.
  2. "UHF vs VHF Wireless". Archived from the original on 17 May 2015. Retrieved 22 April 2015.
  3. House of Worship Sound Reinforcement. Mark Lee. 2009. ISBN   9781598639117. Archived from the original on 2023-12-03. Retrieved 2020-11-06.
  4. 1 2 3 4 "Clinical Consensus Document: Audiological Services for Musicians and Music Industry Personnel". Audiology. 2020-01-23. Archived from the original on 2021-06-16.
  5. 1 2 3 4 Hearing loss in musicians : prevention & management. Chasin, Marshall. San Diego. 15 March 2009. ISBN   978-1-59756-748-0. OCLC   900540677. Archived from the original on 3 December 2023. Retrieved 22 November 2020.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  6. "In-Ear Monitors — Balanced Armature Drivers vs. Dynamic Drivers". 441K. 2014-02-24. Archived from the original on 2023-12-03. Retrieved 2017-10-01.
  7. 1 2 "What IS a Balanced Armature Driver?". jhaudioblog. 2012-09-26. Archived from the original on 2017-10-01. Retrieved 2017-10-01.
  8. "Balanced Armature Driver vs Dynamic Driver, What's The Real Difference? | Major HiFi". Major HiFi. 2017-08-16. Archived from the original on 2017-10-01. Retrieved 2017-10-01.