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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.
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potentially damage hearing. 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.
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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
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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).
204:
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;
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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
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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
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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.
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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,
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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
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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
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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 levels which could
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from isolation and the binaural summation effect which causes an increase in perceived loudness from using two sound sources. 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
242:
Originally invented for hearing aids, balanced armature drivers are nowadays used extensively in modern in-ear monitors. 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
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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.
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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.
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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
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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.
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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
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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
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radiofrequency. Generally speaking, UHF systems sound much better than VHF systems and are more expensive. UHF systems usually are less susceptible to frequency interference which adds to their level of quality.
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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.
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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
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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.
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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.
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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.
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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
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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.
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from ambient surroundings. Their origins as a tool in live music performance can be traced back to the mid-1980s.
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or large 8x12" guitar stacks, are less likely to cause hearing damage for onstage musicians wearing IEMs.
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monitor mix and there is always a receiver for each IEM. The transmitters usually output either one
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441:"Clinical Consensus Document: Audiological Services for Musicians and Music Industry Personnel"
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595:"Balanced Armature Driver vs Dynamic Driver, What's The Real Difference? | Major HiFi"
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to listen to music or to hear a personal mix of vocals and stage instrumentation for
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IEMs typically feature a wire-over-ear or wire (straight) down design.
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of noise reduction. This means that loud onstage instruments, such as
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Sensaphonics 2XS in-ears, with a custom-molded soft silicone shell
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534:"In-Ear Monitors — Balanced Armature Drivers vs. Dynamic Drivers"
882:
809:
673:
655:"Musicians' Hearing Center: When is Hearing Protection Needed?"
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The transmitters and receivers transfer audio wirelessly via a
34:
JH Audio JH16 Pro IEMs, with a custom-molded hard acrylic shell
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Hearing loss in musicians : prevention & management
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27:
Audio earpiece commonly used in live music and television
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558:
346:"Genius!2: Chrys Lindop and IEM (in ear monitoring) #6"
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53:wearing in-ear monitors during a concert in 2018
474:. Chasin, Marshall. San Diego. 15 March 2009.
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8:
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514:: CS1 maint: location missing publisher (
637:. Cambridge, UK: SOS Publications Group.
215:use earpieces with a specialized type of
659:University of Pittsburgh Medical Center
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629:"An Introduction To In-ear Monitoring"
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566:"What IS a Balanced Armature Driver?"
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496:from the original on 3 December 2023
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398:House of Worship Sound Reinforcement
223:(IFB), as a means of communication.
189:ambient noise leakage is increased.
315:Headphones § In-ear headphones
238:Headphones § Balanced armature
176:A pair of universal IEM earpieces (
641:from the original on June 17, 2016
139:A case of in ear monitor receivers
25:
377:from the original on 17 May 2015
605:from the original on 2017-10-01
576:from the original on 2017-10-01
544:from the original on 2023-12-03
415:from the original on 2023-12-03
88:mixing. They are also used by
1:
627:Burton, Jon (February 2013).
253:Headphones § Moving-coil
447:. 2020-01-23. Archived from
344:Ward, Phil (Oct 24, 2016).
1105:
1037:Sound reinforcement system
897:Concepts · Techniques
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235:
280:Some wires may come with
127:, or other destinations.
131:Transmitter and receiver
221:interruptible foldback
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68:, are devices used by
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665:on December 15, 2006.
518:) CS1 maint: others (
371:"UHF vs VHF Wireless"
299:signal-to-noise ratio
251:Further information:
236:Further information:
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90:television presenters
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824:Voice classification
118:multitrack recording
102:stage monitor system
888:Non-classical music
793:Forms · Genres
723:Extended technique
401:. Mark Lee. 2009.
213:Television studios
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120:device used in an
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481:978-1-59756-748-0
232:Balanced armature
227:Driver technology
122:outside broadcast
16:(Redirected from
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1032:Pitch correction
999:Vocal resonation
777:Vocal percussion
733:Overtone singing
718:Bathroom singing
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95:noise reduction
74:audio engineers
58:In-ear monitors
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634:Sound on Sound
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601:. 2017-08-16.
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572:. 2012-09-26.
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1004:Vocal weight
969:Sprechgesang
964:Scat singing
861:Countertenor
755:Sign singing
750:Scat singing
663:the original
643:. Retrieved
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1068:Vocal coach
1058:Vocal music
989:Vocal range
944:Lead vocals
929:Death growl
919:Chest voice
740:Oversinging
570:jhaudioblog
500:22 November
148:mix or two
78:audiophiles
1089:Headphones
1027:Microphone
939:Head voice
914:Coloratura
831:Voice type
782:Beatboxing
760:Sing-along
713:A cappella
609:2017-10-01
599:Major HiFi
580:2017-10-01
548:2017-10-01
419:2020-11-06
356:2019-01-27
331:References
219:called an
974:Tessitura
949:Passaggio
866:Contralto
851:Baritenor
510:cite book
490:900540677
445:Audiology
168:Earpieces
70:musicians
51:Elize Ryd
1083:Category
934:Falsetto
924:Crooning
846:Baritone
815:Vocables
770:Lip sync
645:April 4,
639:Archived
603:Archived
574:Archived
542:Archived
494:Archived
413:Archived
381:22 April
375:Archived
309:See also
217:intercom
199:drum kit
195:decibels
178:Etymotic
18:Earpiece
959:Rapping
954:Quintus
909:Belting
876:Soprano
765:Karaoke
745:Rapping
700:Singing
247:Dynamic
110:panning
66:in-ears
979:Timbre
800:Choral
488:
478:
405:
288:Safety
180:ER-4S)
146:stereo
1063:Choir
856:Tenor
805:Opera
883:Fach
836:Bass
810:Lied
647:2019
538:441K
520:link
516:link
502:2020
486:OCLC
476:ISBN
403:ISBN
383:2015
262:Wire
150:mono
76:and
62:IEMs
277:.
161:UHF
159:or
157:VHF
84:or
64:or
1085::
657:.
631:.
597:.
568:.
557:^
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508:{{
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
