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In-ear monitors (IEMs) are devices used by musicians, sound engineers and audiophiles to listen to music or to hear a custom crafted mix of vocals and stage instrumentation for live performance or studio mixing. They are often custom fitted for an individual’s ears and provide a high level of noise reduction from ambient surroundings.

Monitoring System

A monitoring system is any system that provides a mix of audio sources to a performer on stage. Traditionally, monitors were loudspeakers placed on stage directed toward the performer (often called floor monitors or wedges). Depending on the sophistication of the audio system, there may be any number of monitor speakers on the stage, and any number of different mixes sent to the different monitors (for separate performers). While these monitors are still used today as the default in most venues for artists without their own in-ear monitor system, there are disadvantages to this system. Loud instruments, such as drums, require the floor monitors to be even louder than the other stage monitors to be heard. These competing stage monitors can decrease the clarity of the audio and affect the performer’s hearing. A performer must also remain in front of their own monitor(s) in order to hear their performance. If they move to the location typically occupied by other performers, they will be hearing that person’s mix, which may not be ideal. Moving away from monitors entirely leaves the performer monitorless. Too few monitors or monitor channels may require performers to share and neither may achieve an ideal mix.

In-ear monitors are professional grade earphones which fit into the ear and are commonly optimized to suit the needs of performers and serious audiophiles. For live performers, IEMs are connected to a receiver which receives the monitor signal from a wireless transmitter that is typically hardwired to the monitor mixer. These receivers are usually wireless via radio-frequency, but can also be wired for stationary performers (such as a drummer or keyboardist). More recent models are designed to function with popular digital players and computers for more casual use.

In-ear monitor mixes are usually mixed from one of two locations: the front of house mixer (FOH) or a separate mixer just for in-ear monitors. In-ear monitors are typically only mixed from front of house when the main sound system is small enough that the sound engineer can handle both the tasks of mixing the in-ear monitors and the house sound (more on this process in the article live sound mixing). The alternative is to mix the in-ear monitors through a separate mixer, which is usually set up in one of the wings of the stage. Wherever the mix is done, the engineer manages a (typically) separate mix of the performer’s sound inputs to the in-ear monitors. This mix is customized to allow the performer to hear the elements they require to perform best. For example, a performer’s own instrument and vocals are usually mixed at a high level; a lead singer might not have a high mix of a lead guitar or keyboard that might be more distracting than helpful to their singing. 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 additional definition of the audio by panning different elements to each ear. Recent advances in this technology also allows the user to incorporate an ambient feature, allowing them to adjust the amount of ambient noise filtered by the IEM..

Transmitter and Receiver

The most common professional stage in-ear monitor system employs the use of a wireless system to send the mix to the IEMs. This system contains a transmitter and a receiver pack that is worn by the performer. There is generally a transmitter for each monitor mix and there is always a receiver for each IEM. The transmitters usually output either one stereo mix or two mono 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. The output from a receiver is generally too weak to power two monitors at the same time.

The Transmitters and Receivers transfer audio wirelessly via a VHF or UHF radio frequency. Generally speaking, UHF systems sound much better than VHF systems and are therefore more expensive to purchase. UHF systems usually are less susceptible to frequency interference which adds to their level of quality.

Earpieces

The in-ear monitors themselves are the last stage of the signal path in the system. The IEMs are often custom molded by an audiologist (as shown in the picture to the left) and therefore are more comfortable to wear and allow the sound to be sent directly into the user’s ear canal. They also provide a better seal, and thus a lower level of 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 Decibels of noise reduction. Custom in-ear monitors come in a variety of colors but usually are clear or a color that closely matches the skin color of the performer. Some manufacturers can also place custom artwork directly on to the custom in-ear monitors. The IEM cable plugs into the receiver pack via a 3.5 mm stereo jack clipped onto the belt or clothing of the performer, or placed in a pocket. Non-custom IEMs are also available and include a variety of universal foam and silicone tips that will fit into most people’s ears.

Article Source: http://en.wikipedia.org/wiki/In-ear_monitor