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Even the biggest stage is no fun without a good monitor sound. Ideally, all musicians can hear themselves and their bandmates at a comfortable listening level that is not harmful – neither to their own ears nor to the audience in the front rows. In reality, this is rarely the case. Stage volume often keeps creeping up until all that is left is a muddy wall of sound that creates stress and an uneasy feeling for everyone on stage. A dedicated in-ear monitoring system can be the solution, eliminating the need for loud floor wedges and providing a more controlled listening environment.
A custom-moulded in-ear system by Ultimate Ears, as used on professional stages worldwide.
Many musicians still believe that in-ear monitoring is only for huge productions and arena tours. In reality, a dedicated in-ear system is a massive advantage on small stages in particular. In crowded clubs with 100 people or more, stage volume should be as low as possible – the audience is very close to the stage and passively hears a lot of the sound directly from the musicians.
As soon as a drum kit is involved, other musicians often try to keep up with amps and monitors. The result is usually a far too loud overall level that keeps escalating. An in-ear system, on the other hand, reduces stage volume drastically. The FOH engineer no longer has to fight against the stage sound and can focus on creating a clean, balanced mix for the audience.
Perfect fit
Universal-fit in-ear headphones usually ship with several sizes of ear tips. Take your time to find the ideal size and shape. It is worth trying both ears separately, as ear canals can differ in size. If none of the supplied tips feels quite right, third-party options with memory foam are a great choice – they are compressed before insertion and then expand to seal the ear canal.
The most important component is the headphone itself. In theory, a closed-back over-ear headphone could also be used on stage – some drummers do exactly that. For most performers, however, this is not the ideal solution in terms of look, comfort and isolation. In-ear headphones sit discreetly in the ear, provide isolation from ambient noise and deliver the monitor mix straight to the musician’s ears.
The range of in-ear headphones is almost as broad as the world of stage monitors. There are entry-level models for around €50 that will work “somehow”, but if you are serious about your sound, you should plan for a few hundred euros for a high-quality system. Custom-moulded systems, where an audiologist takes an impression of your ear canal and outer ear, are typically in the four-figure range – but they offer maximum comfort, isolation and consistency.
If you are planning to invest in a custom-moulded in-ear system, you should think carefully about what you need it to do. Vocalists usually prefer a relatively flat, natural frequency response, while bass players often enjoy a bit more punch in the low end for better feel on stage. Manufacturers offer a wide range of models with multiple drivers per side – very similar to PA systems with crossovers, where different speakers cover different frequency ranges.
A good example of a high-end system is the Ultimate Ears LIVE, which is designed as a 5-way system. More affordable in-ears often rely on two-way designs. Especially for singers, it rarely pays off to cut corners here – mid- to high-range models tend to deliver noticeably better intelligibility and control.
To get the signal from the mixing console – typically sent via an auxiliary output – to your ears, you need a dedicated headphone amplifier. This is where you plug in your in-ears. There are classic 19" rack units as well as compact belt-pack amplifiers that clip onto your waistband. One of the key controls is the volume knob, which lets the musician adjust their overall listening level.
Just like with other wireless setups, there are wireless in-ear monitoring systems with a transmitter and receiver that give you full freedom of movement. These usually cost more than wired solutions but are extremely popular with singers and front performers who move a lot on stage.
The Fischer Amps In Ear Stick is worn on the belt and offers direct volume control for your personal in-ear mix.
The benefits of in-ear monitoring clearly outweigh the downsides. Still, it is important to be aware that in-ear headphones seal the ears and can create a feeling of isolation from the room. Many manufacturers address this by offering models with small ambient ports or integrated microphones that let in some room sound and crowd noise.
Another option is to use ambient microphones on stage and feed them into the monitor mix. This helps preserve the connection to the room and the audience. A short acclimatisation period is perfectly normal – but once most musicians get used to in-ear monitoring, they rarely want to go back to loud wedges.
The Sennheiser XSW IEM SET is a fully wireless in-ear system that literally sets the artist free on stage.
Stereo panning and orientation
In a stereo in-ear monitoring setup, instruments and vocals are placed at fixed positions in the stereo field. If a musician turns around on stage, they suddenly see their bandmates the other way around – but the stereo image in their ears stays the same. A guitarist may now stand visually on the left while still being heard on the right. This effect only occurs with stereo systems. If you are using a mono mix, this is not an issue.
In-ear monitoring is suitable for almost any kind of musician or presenter – from club bands and worship teams to theatre productions, DJs and hosts. It is especially helpful wherever stage volume needs to be controlled.
The key benefits are lower stage volume, better hearing protection, a clear and controlled monitor mix, improved FOH sound and more freedom of movement, as you can often get rid of bulky floor wedges.
A typical in-ear system consists of in-ear headphones, a headphone amplifier or bodypack, and a monitor send from the mixing console (usually via an aux bus). In wireless setups, a transmitter and receiver are added.
Entry-level solutions start at around €50. For serious stage use, you should plan on spending a few hundred euros. Custom-moulded high-end systems with multiple drivers can easily reach four-figure sums but offer top-tier comfort and sound.
Start with moderate listening levels, add ambient microphones if needed and take the time to fine-tune your mix. Allow yourself a few rehearsals to get used to the more direct sound and the isolation – most musicians adapt quickly.
Try all supplied ear tips carefully and test both ears individually. A proper fit is achieved when the earpieces sit securely, do not cause discomfort and noticeably reduce outside noise. For maximum comfort and a perfect seal, custom-moulded in-ears from an audiologist are the best option.
Even with in-ear monitoring, the rule is: as quiet as possible, as loud as necessary. Constantly high listening levels can damage your hearing. Use a limiter in your monitor chain if possible, avoid excessive boosts of highs and lows and stick to a moderate listening level.
Yes. Many in-ear systems are available as wireless solutions. A transmitter sends the monitor signal to a belt-pack receiver worn by the musician, which then feeds the in-ear headphones. This setup offers maximum freedom of movement for singers, guitarists and performers.
No. While having a dedicated engineer is helpful, it is not a requirement. Many bands use compact digital mixers with scene recall and app control, allowing them to manage their monitor mixes themselves from rehearsal to show.
The headphone amplifier is the link between the mixing console and your in-ear headphones. It provides sufficient output level, allows for volume adjustment and, depending on the model, offers additional features such as limiting and tone shaping. Its quality has a direct impact on sound, dynamics and reliability.
