The stampede of artists moving from screaming wedges to “personal” monitors has changed many of the rules. (Before we go any further and in case you missed it the last 100 times we have explained: Yes, most of us refer to this kind of gear as “ears” or “in-ears” when we’re doing a gig or talking about gear. But both of those terms are trademarked and can only be used officially when referring to the products made by the company that holds the trademark. Hence our compromise term “personal monitors.”)
Our goal here is not to list every piece of gear used when mixing personal monitors. Rather, it is to look at some of the peripheral stuff that makes using them easier. So, you will find no info on earpieces — neither universal, custom-fit — or wireless rigs. Honestly, that is a fight I would rather stay out of, but here is a look at some of the other tools we have found valuable on the gig.
Processors
Of course, any processor you can use at FOH or for traditional monitors can also be used with personal monitors. But there are a couple of mfgs who have packaged some stuff together for a piece that is really MADE for PMs.
Rane MM 42
The MM 42 processes a single stereo mix or two independent mono mixes using Shelf/Cut Filters, 3-band Compressor, 5-band Parametric EQ, and 3-band Peak Limiter. An assignable sub (low frequency) output with adjustable bandpass filter is included for direct connection to powered sub-woofers or bass “shakers” without requiring an external crossover. The onboard headphone amp (¼” and 1/8” jacks) and Cue Bus functionality permit easy setup and monitoring of multiple mixes.
What do we love about it? That sub out is a very nice touch, as is the ability to monitor any one of a multiple group of processors without having to repatch your headphones. The other very cool thing here is the fact that it has four inputs that can all be assigned to either one stereo or two mono mixes. With the level for each input easily accessible from the front panel, it makes complying with “more me” requests a breeze.
MSRP: $999 • www.rane.com
dbx IEM Processor
Offering many of the same processors as the MM 42, including multiband compression and five-band parametric EQ, the IEM trades some of the MM 42’s cool stuff, including that Cue Bus, the sub out and the four inputs, for a Stereo Adjust control that varies the “width” of the stereo image. It also includes Lexicon reverbs, which means you may be able to leave at least one rack space unit in the shop.
MSRP: $2,079 • www.dbxpro.com
Self-Mixing
While any small mixer can be used for the truly anal to mix their own monitors, there are a couple of systems out there that are specifically made to do it.
Aviom
The system consists of three parts — an input module that converts up to 16 analog signals into digital, a hub that distributes the signal and individual mixers that are run by the person using them.
The AN-16/i Input Module is a single rack space unit that serves as the A/D input. It converts 16 line-level analog audio channels into uncom-pressed, full bandwidth digital data transmitted via Aviom’s proprietary A-Net protocol. All inputs are balanced ¼” TRS jacks. There is a Thru jack available for each input, which allows the AN-16/i Input Module to be inserted into an existing audio signal path.
The A-16D is designed to distribute the A-Net Signal from either an A-Net input module or another A-Net Distributor. Each A-16D accepts one A-Net input signal and provides eight simultaneous A-Net outputs using Cat-5 Cables.
The A-16II allows the performer control over channel volume, grouping, pan, stereo spread and master volume. Users can save and recall up to 16 custom mixes as presets, and the stereo output from the Pro16 Monitor Mixing System can be used to drive floor wedge monitors, headphones or spot monitors. MSRP (One input module, one hub and four mixers): $4,727.23 • www.aviom.com
Hear Technologies
I own and use one of these and love it. Less flexible, but simpler to use than the Aviom, the Hear system combines the input module and hub into a single rack space that will take its input as analog or digital via ADAT Lightpipe or its own Cat-5 based HearBus. The individual mixers do eight channels as opposed to the Aviom’s 16 and have no EQ or scene memory, but I find performers pick up on how to use them much more quickly and easily.
You can add a lot of flexibility with the addition of the MixBack, a rackable 16 x 12 x 2 x 2 mixer that will feed two separate HearBack hubs and their corresponding personal mixers. The onboard limiter goes a long way in protecting hearing as well. Hear has also recently announced the release of the FreedomBack wireless system and a partnership with Future Sonics to market high-end univer-sal-fit earpieces, which makes them the only one-stop-shop out there for personal monitor gear. MSRP (Four-pack of mixers, one hub): $1,895. You can add the MixBack for $2,995 • www.heartechnologies.com
Speakers Not in Your Head
Some folks just don’t like anything in their ears, but that does not make personal monitoring an impossibility. A couple of companies have taken the old speaker on a mic stand concept and put a pro polish on it for some interesting options.
EV SOS 3.2
This passive system puts the monitor on top of a mic stand with a connector for a mic boom so you get the mic and the monitor on a single stand, which makes for a cleaner stage. Diver configuration is a pair of 3.5” speakers and a single 2/4” direct radiating high frequency driver. Input is a single ¼” input with a pad for controlling the overall volume of each unit. As EV also markets these without the mic-stand adapter and with a sub as a wall-mount speaker system, they are sold in pairs.
MSRP: $230 • www.electrovoice.com
TC-Helicon VoiceSolo
Available both active and passive, the VoiceSolo series takes the speaker on a mic stand idea much further than pretty much anything else out there. The top-of-the-line VSM-300 XT starts with an I/O box that takes four mic and line inputs with pass-throughs for the house (the mic input includes both a mic pre and phantom power) and an output to the VSM-300, which houses a single 6.5’ driver and gain controls for each input and an over-all EQ. A mic boom can also snap right onto any of the VSM models for an all-in-one mic and monitor solution. MSRP: $420 • www.tc-helicon.com
