Helix line 6 using earpiece To play live

[Jrod2004]

Anyone used this method? Earpiece as a monitor and out through PA? I'm reading this is bad idea? Because what you might hear in the earpiece might come out different in PA speakers? (Using shure SE 315) (we are transferring over to silent stage)

[Rewolf48]

It is a good idea as long as you work out the practicalities.

The biggest problem for you with an IEM such as the SE315 is that it blocks out all of the other noise and you are very isolated; due to psycho-acoustic effects using only one is not a good idea, so you really need a way of getting some monitor mix and/or stage sound in as well. Unless you really needed a 20db reduction in level because the stage volume is way too loud.

With the Helix there is no reason why you cannot mix another input by dedicating say path 2B to a mic input or monitor feed.

The other problem is the cable - having two flying leads means you will get tangled or you can tie the headphone cable to your guitar lead which makes that stiffer and is a problem if one or other lead needs replacing mid gig.

For everybody else they now have to monitor you through another means, which may be a general monitor mix; unless everyone is using IEM in which case you would be using that system.

[njglover]

I use IEM on stage whenever possible. Mostly it's just for hearing myself. Doesn't really matter that what I hear may not sound like what the audience hears - it's for me, not them. As long as it sounds good out front then all good. That's why I check my tones on a PA speaker before committing to them.

[brue58ski]

I use IEM on stage whenever possible. Mostly it's just for hearing myself. Doesn't really matter that what I hear may not sound like what the audience hears - it's for me, not them. As long as it sounds good out front then all good. That's why I check my tones on a PA speaker before committing to them.

I would say ultimately, that's what will happen. The chances are excellent that what you hear in your ears will not be what's heard through the PA. So create your patches for the PA.

[PeterHamm]

Using an IEM can be awesome, but when you tweak your tone, do it through an FRFR or the PA, then, while you are playing through the IEM, resist the temptation to tweak your patch. Trust the work you've already done.

[jbuhajla]

Using an IEM can be awesome, but when you tweak your tone, do it through an FRFR or the PA, then, while you are playing through the IEM, resist the temptation to tweak your patch. Trust the work you've already done.

^ SO MUCH THIS ^

[Leftzilla]

My band actually rehearses via IEM and records each session due to our practice space being our recording studio and the kit is "permanently" miked up.  I personally have the full mix going into my ears (except for the drums) but since we are using a behringer X18 Air we have the capability of custom mixes.  We built the system after playing too many places that had subpar monitoring (at least by our standards).  As stated by Peter Hamm any tweaking to your tone should be done via FRFR or the PA.  

 

Since we record pretty much everything this allows us to listen to where each instrument "sits" in the mix and allows me to tweak my sound  prior to recording.  This also allows me to "know" what the mix should sound like in the IEMs if as in some cases I am running the sound from stage for venues that do not have a PA or a sound man.  Theoretically the IEMs should sound like the PA but there are going to subtle differences or adjustments needed based on the room.  

 

In the OP's case I think its more a matter of getting used to your particular IEM and let the sound guy (whoever that is) worry about the PA

[amsdenj]

IEMs are a great way to control what you ear as well as how much. They can be the difference between saving and loosing your hearing. Here's a fiew quick points to consider.

 

IEMs mixes should be designed to help you play and save your ears. They're not an effective means of mixing FOH while you're playing. Almost everyone attempting this will mix their own instrument/vocal too loud.

 

There are three general choices for what you can monitor. 1. Your own hardware mix: use a small PA mixer or Helix with your own mic and instruments and use the headphone output to monitor that mix. 2. Take a stereo feed off the FOH using a simple headphone amp. Or 3. if your mixer has the capability (and most digital mixers do), create your own sub mix containing whatever parts of the band you need.

 

The best option is 3, your own specific mix. FOH may not provide enough of your own instrument, or too much of everything else. Your own hardware mix may leave you too isolated.

 

IEMs are like singing with your fingers in your ears, you get a lot of head sound. If you're playing and singing, make sure you have enough drums in your mix so you don't loose the beat while your singing.

 

Stereo monitor mix sounds great, but try mono too, you might like it better and it might be easier to play along with.

 

Be careful about the IEM levels. If the level is too hot, IEMs can do more damage to your ears faster than stage volume without them. I like to start with the headphone volume all the way down and I play part of the first song listening to just the bleed - the IEMs are just expensive ear plugs. Then I slowly turn the headphone volume up until the IEM output adds to the bleed, providing the missing high end definition. This produces the minimum IEM level.

 

If your ears are ringing after a gig, the levels are too high and continued exposure may damage your ears.

 

If you're using IEMs and stage amps, or at least acoustic drums, remember that FOH isn't the only thing the audience hears. Stage volume is getting mixed with FOH to provide what the audience experiences. This could be insignificant in arenas, or very significant in small clubs where people on the dance floor mostly only hear stage volume. You have to account for this when mixing the band, or in capturing recordings for the purpose of assessing what the band is actually delivering.

 

The hardest situation to deal with is when you have a mix of monitoring approaches in the same band. In my band, myself and the bass player were the first to adopt digital amps, no stage amp, and IEMs. The other guitar player is using a stage amp and floor wedge as a monitor. We play a lot of small clubs, and our stage volume was unbalanced. So I added a couple of EON610s for my stage amp, and the bass player brought back his amp. Now only the keys has no stage amp. We keep the stage volume as low as possible, just enough to fill in the dance floor, and provide some physical interaction with our instruments. This is a compromise that adds some complexity to setup and mixing. But its the best we can do as not everyone is comfortable with IEMs.

[Jrod2004]

Thank you all for the responses guys. Very informative and useful.

[Leftzilla]

amsdenj I do disagree slightly with your point about mixing the front of the house via IEM.  I have been successfully doing it through 3 bands now, but I also have trained myself to deal with a balanced mix (i.e. knowing where my guitar should be in the mix).  The Audio Technica system that I use allows for either a mono or stereo output.  When using the mono output can can change the volume balance between two feeds going in.  So one feed is the full mix, and the other just guitar.  So back then if I needed to get more guitar I would just adjust the balance and it wouldn't affect the main mix.  But you do bring up a good point as it did take me awhile.

[olivierJez]

Just thinking through your setup. As good the idea sounds about getting your own monitoring direct from the helix, the problem i see straight away is that you will not ear your band mates anymore.

That is a dangerous risk to play live hearing yourself a lot and not much the others. Unless there is a very loud volume on stage and you need earplug to reduce it and then taking the chance to add a touch more of your guitar....

 

just saying ;)

[jrrjr68]

IEMs are a great way to control what you ear as well as how much. They can be the difference between saving and loosing your hearing. Here's a fiew quick points to consider.

 

IEMs mixes should be designed to help you play and save your ears. They're not an effective means of mixing FOH while you're playing. Almost everyone attempting this will mix their own instrument/vocal too loud.

 

There are three general choices for what you can monitor. 1. Your own hardware mix: use a small PA mixer or Helix with your own mic and instruments and use the headphone output to monitor that mix. 2. Take a stereo feed off the FOH using a simple headphone amp. Or 3. if your mixer has the capability (and most digital mixers do), create your own sub mix containing whatever parts of the band you need.

 

The best option is 3, your own specific mix. FOH may not provide enough of your own instrument, or too much of everything else. Your own hardware mix may leave you too isolated.

 

IEMs are like singing with your fingers in your ears, you get a lot of head sound. If you're playing and singing, make sure you have enough drums in your mix so you don't loose the beat while your singing.

 

Stereo monitor mix sounds great, but try mono too, you might like it better and it might be easier to play along with.

 

Be careful about the IEM levels. If the level is too hot, IEMs can do more damage to your ears faster than stage volume without them. I like to start with the headphone volume all the way down and I play part of the first song listening to just the bleed - the IEMs are just expensive ear plugs. Then I slowly turn the headphone volume up until the IEM output adds to the bleed, providing the missing high end definition. This produces the minimum IEM level.

 

If your ears are ringing after a gig, the levels are too high and continued exposure may damage your ears.

 

If you're using IEMs and stage amps, or at least acoustic drums, remember that FOH isn't the only thing the audience hears. Stage volume is getting mixed with FOH to provide what the audience experiences. This could be insignificant in arenas, or very significant in small clubs where people on the dance floor mostly only hear stage volume. You have to account for this when mixing the band, or in capturing recordings for the purpose of assessing what the band is actually delivering.

 

The hardest situation to deal with is when you have a mix of monitoring approaches in the same band. In my band, myself and the bass player were the first to adopt digital amps, no stage amp, and IEMs. The other guitar player is using a stage amp and floor wedge as a monitor. We play a lot of small clubs, and our stage volume was unbalanced. So I added a couple of EON610s for my stage amp, and the bass player brought back his amp. Now only the keys has no stage amp. We keep the stage volume as low as possible, just enough to fill in the dance floor, and provide some physical interaction with our instruments. This is a compromise that adds some complexity to setup and mixing. But its the best we can do as not everyone is comfortable with IEMs.

this was a good read. We have been considering IEM's because we rehearse with headphone amps now and digital kit and feel that would get us closer to replicating that live. 

Personally I like cranking up the Boogie.. but I don't want to carry stuff.. decisions, decisions... 

[amsdenj]

This was also very useful: https://itunes.apple.com/us/podcast/band-geek/id882131842?mt=2&i=1000373031890