These are available in wired and wireless versions, and many allow the musician to have control over their own mix.
With IEM, the same advice applies as to the electronic drum kit – if you go this route do it right. A half-hearted, low-budget attempt at IEM will only alienate musicians and make it less likely that they’ll ever try it again.
Done properly, musicians can have their own acoustic environment complete with audience sounds, etc.
The combination of IEM and electronic drums can drop stage levels to
virtually nothing, dramatically improving the house system.
Be sure to allow an adequate transition period from stage monitors to IEM. And squeeze in some practice sessions before trying it in front of an audience.
Humans are remarkably adaptive, but adaptation takes time. We’ve all experienced a new computer keyboard that was impossible to type on at first, but after a few days, it’s our keyboard of choice.
IEM and electronic drums can require the same break-in period, and those that endure it are gonna love the results.
Posted SPL Limit
Establish an absolute maximum for monitor level and stick to it. Do this after setting the maximum level of the main system. You can do both with a CD track.
Set the mains to the highest level that is comfortable for the audience. If the gain structure of the system is correct, this level should drive the main meter on the mixer to the vicinity of “meter zero,” providing some visual feedback as to the operating level of the system.
If you’re way below meter zero, it may be necessary to turn down the amplifier levels in order to turn up the mixer.
While the music is still playing, bring the monitors up until you can just hear them from front-of-house and then turn them down by at least 10 dB.
This represents the maximum possible level of the monitors, and should represent “meter zero” on the monitor bus meter.
If there isn’t one, it can be added as an outboard unit. This should allow the mains to swamp out the monitors in the house for all but the closest seats to the stage.
Use the visual metering on both mains and monitors to maintain these levels, and don’t go higher no matter what your ears tell you and no matter what pleas come from the stage.
The human hearing system is easily deceived when exposed to high levels over time.
Monitors are often run as loud as they’ll go without feedback, not as loud as they need to be.
It’s O.K. to have some extra headroom, but you’re doing musicians a favor by controlling their exposure, and they’ll likely be playing much longer because of it. Take levels to the “edge” all of the time, and musicians will become conditioned to expect it.
Why Not Win?
Lowering SPL is one of the few ways to get something for nothing.
Consider the benefits: lower cost, less hearing damage, and a happier audience. And the list goes on and on.