How to interface a band's IEM rig to a sound system

[@jaredgilliam5373]

I’m glad you’re on board with this, our band runs our own in-ear rack and a lot of venues act like it’s a hassle even though everything is labeled.

[@stageleftaudio]

Thanks for your comment!

[@Nahum17good]

I totally agree with you in that I always welcome bands with their own iem system and or monitor mix system.

[@hosdrummer6735]

Thank you for this very well explained and useful video! Much appreciated!

[@stageleftaudio]

Thank you.

[@beckwith5880]

nice clear explanation of a very robust and flexible solution

[@stageleftaudio]

Thank you sir!

[@LIXOSonidoyDiscos]

Thanks for this video and for showing the layout. Excellent recommendation!

[@stageleftaudio]

Glad it was helpful!

[@charlesparks2501]

Always helpful, thanks for this discussion/explanation!

[@stageleftaudio]

Thank you!

[@dustinthiessen]

I always prefer a split with multipin disconnects. this way if you need to feed several monitor or FOH desks on a festival, everybody can have their own whip, and they can be changed around as need be, in seconds, without having to re patch 48 lines

[@paratyshow]

👍✅Makes our lives easier when the band has and controls their own in-ears👏

[@stageleftaudio]

...and with no monitor feedback!

[@allenpendleton8767]

I actually have an In ear rig with my system for those who want them but they don't have their own. I would rather shell out the money for that than run wedges. I have got to the point that I do not want to use wedges at all if I can help it. Most bands even garage bands now days have use in ears.

[@paratyshow]

@@stageleftaudio and that is the best present we can receive! 🥂🎉

[@paratyshow]

​@@allenpendleton8767 👍✅ unfortunately in my area a lot still want wedges, I try to convince them with sides and a few in-ears we have but some refuse

[@nistanvongphrachanh8961]

Thank you for this video, I learned a lot from it .

[@ELSSAUDIOELECTRONICS]

very nice sir...from the philiphines

[@rheycabuloy2012]

Splitting the signal passively (without a powered splitter) can result in signal loss. The microphone's signal strength is divided between the outputs, which can lead to lower volume levels and potential degradation in sound quality. For best results, especially in professional settings, an active (powered) splitter is usually recommended. Active splitters provide isolated outputs, maintain signal strength, and manage impedance more effectively.

[@stageleftaudio]

Thanks for your comment. The passive splitting in this video does very, very little (if any) to affect the signal degradation. What you are referencing with signal loss, impacts cable distances that are many hundreds of feet long and/or when using high impedance microphones. A 600ohm microphone (vs. standard 150-250ohm mic) will lose its high frequency response (staring around 8k) over a 300ft. cable distance. Powered (active) splitters are commonly used when there needs to be isolation between signal trunks (i.e. broadcasting feeds). Active splitters work well, but they have a specific use.

[@JohnLiberty-em8xj]

😮thank I learnt news Thing today

[@MichaelSosmena]

how about ground loop sir there is some microphone using phatom like over head mic for drums and hihat it is ok for analog spliter?

[@stageleftaudio]

An analog splitter (non-isolated splitters) work great with phantom power. It does not matter which console provides the phantom power. Though, it is usually common for the monitor console to provide all phantom power.

[@angelorasmijn7306]

Awesome, thank you!

[@Extremeadventuresandevents]

Hi. it’s something to consider. IEM is the future. Would like to know how you route your pa 260 to run separate channels independently

[@stageleftaudio]

The 260 is used primarily for FOH PA. A band's IEM setup is completely separate from how the 260 would be used. The signals for the 260 would still be returned on the main FOH snake. Running a FOH PA would not change when using an IEM setup.

[@Extremeadventuresandevents]

@@stageleftaudio i agree, I’m asking these because i have been following your videos for sometime and would really appreciate a video on routing the drive rack to create two separate inputs channels where one is for the mid/ high and the other is for the sub

[@stageleftaudio]

Ah ok. I did a video a few years ago covering that exact topic, but in that video, I was using an analog crossover. I may do a future video covering that topic but using the 260 for the xover.

[@Extremeadventuresandevents]

@@stageleftaudio Thanks Bob that will be highly appreciated🙏🙏

[@whoopingcoughfun]

Is that splitter box transformer isolated for the monitor send or is it essentially 32 pairs of y cables?

[@paratyshow]

👍✅ just a bunch of Y's

[@seanwalsh999]

Nice explanation of a Basic analogue splitter snake. I guess the next level will be a digital stage box. How about FOH talk back for the musicians on the stage?

[@stageleftaudio]

Thanks for the comment. This setup also works with digital stage boxes; there's no difference. Good point on a FOH talk-back. There's a couple of ways of handling it, but the easiest method is usually handled by a wireless receiver (basic wireless mic) connected to an input on either the snake splitter or directly to the IEM rig. The wireless mic receiver usually connects into the highest numbered input on the snake (or the IEM console). The mic stays at FOH.

[@seanwalsh999]

@@stageleftaudio Nice solution for the talk back Mic, so I should probably bring a wireless Mic along for the front of house person. Thanks for the tip.

[@TR_145]

@@seanwalsh999 I wouldn't bother with RF for a talkback mic. Send one back up the snake

[@thomas9469]

Hello sir again, I have an question about the DBX 231S dual band EQ Can u please tell me which frequency is to cut for boominess. Or how to find the booming frequency. Much appreciated

[@stageleftaudio]

Good question. The "boomy" frequencies can cover a large range of low frequencies, therefore, there's no way to say which frequency is the boomy one. Sometimes, the boomy frequencies may actually be a result of a physics issue (power-alley, bass reflections in 1/4 space, speaker resonance, etc...) and not so much related to a frequency issue. Trying to correct a physics issue by using an EQ does not usually have good results. How to find the booming frequencies....? I recommend listening to lower frequencies, maybe by using a tone generator (onlinetonegenerator.com/) and learning what the lower frequencies sound like. By learning the frequencies, identifying the boominess becomes a lot easier... once hear the boominess, then it can be cut a few db on an EQ. If you remember what the boominess sounded like, try to locate it on the tone generator.

[@thomas9469]

@@stageleftaudio sounds great Thanks much. What u think about ankle 7.5 degree down on the tripod instead of speaker sitting straight. When angle sound dont hit back wall ? It could be the bass bouncing back it’s a church with high ceiling so, interesting the website you provide I think 50- 125 HZ on the DBX sounds like boomy.

[@stageleftaudio]

Those angle tilting devices are ok. They are used to change the coverage of the speaker to accommodate the seating area(s) in front of the speaker. They work as they are designed, but they will not help with the bass bouncing back. For your setup, you may need to cut some bass frequencies from the FOH sound... small cuts only to start. Indoor sound system setups can be a challenge to find solutions for issues.

[@thomas9469]

@@stageleftaudio Thanks again I will play with and see.

[@homerotamez4573]

I always just hand FOH the labled splitter tail coming from my Rack Rig and off we go!

[@stageleftaudio]

Perfect!