Complete Wireless In Ear Monitor System & Splitter Console
Your band will be self sufficient for stage in ear monitors where ever you go. In a nutshell; You'll pull a 16 channel stage box with a 30' cable from the back of your rack. Your players plug in the 16 instruments that will go to the ear mixes.
Not all signals need to be in the ear mix. We've found that the drums can get by with just the kick and snare. The rest of the kit would go straight to the FOH snake/stage box.
Now you have all the instruments patched in to your In Ear Monitor Mixer. To get the signal out to the FOH snake/stage box you will pull out of your rack the 30' set of tails. These you'll label Kick, Snare, Guitar, Bass, Key 1, Key2, etc. Hand that snake to the engineer at the venue (or plug in to your FOH snake if it's your PA.
With the 16 inputs to the Crest X18RM, you'll have 12 mono / 6 stereo sends. I've wired this system to have monitor sends 1,2,3 & 4 go to the new Wireless Mipro Systems. The new CBI drop snake also has 4 sends. These are wired from monitor sends 9,10,11,12. They can be used for hardwired belt packs. Guys that are stationary like the drummer or keyboard may not want to / have to spend the bucks for a wireless system. All the monitor send can be switched around easily if you would like to configure differently. The video shows patching for your sound guy to make changes. You may want the 4 wireless systems to be stereo - easy change.
The components for this rig are all new with the exception of 4 short XLR (console to Mipro) and a couple rack panels on the top front. I've bolted in several eyebolts to add strain relief for the stage snakes. The console sets back two spaces on top with a blank rack panel so you tape/write there - not on your Crest X18RM (it's called X18 because there are stereo inputs on the last two channels making the console 18 inputs).
The way my 10 piece week end band works this same rig (only we use 10 wireless Mipro systems in the rack) is, at sound check, each guys adjusts his own mix as we're sound checking. Initially, you'll have your sound guy or one of the players dial it in close. What I would recommend is each player gets himself in his ear loud and clear. Then go to the console and dial in the EQ on each of your channels so that life if great. Reset the gain on the console (hit pre-fade listen button, play or sing loud, watch the LEDs top right and set the gain so the LED is reading around the middle. Then reset your volume (EQing changes the gain). Keep in mind that gain is not volume. It's setting your input level to be what the console wants to see to not distort you. OK, now everyone has themselves blasting. Now lets spread the rest of the band. The guy at the mixer will say - Keys. Every one raises his hand and drops it when he has enough keys. Repeat until you have the whole band. Remember, your mic or instrument blasting, the rest of the band "present." You'll make a lot of adjustments from that point. An ear mix is like coffee. Everyone has different tastes on what makes like great. Another thing we did was brought a FOH mix back to an input of the monitor mixer. Several of the guys use that mix, then add there Sax on top of it. Again, another style of getting what makes ya happy.
I'm a singer with 4 other front guys. I have the singer that's closest to me in the harmony stack at about 70% so I can find my part (if I happen to be blundering around that night) and the other singers at 50% so I can hear if there's any waver in the harmonies. I have the guitar in at 60% so I can stay in key and a hint of snare for the larger stages so I stay in time. I don't need a full mix to do my job. Plus, I don't want a guy in my ear that has a volume pedal so you never really know how loud he'll be. That's my cup of coffee. The rest of the group wants a lot more in their mix - matters not to me. Again, what makes ya happy.
The reward to the band for this expenditure will be big. When you show up at a venue, your ear mixes are up and running in minutes. I never have to adjust mine. The other guys - a bit because a bigger room maybe the guitarist went from a pro jr to a 4x12 and is playing louder (just an example). As you guys sound check - noodle with your mixes. Let the FOH guy worry about his end. No longer will you have to wave trying to get the attention of the FOH guy for more or less. It's all in your hands now.
Your individual performance will improve big time. When I was playing guitar, I could hear the nuances of which ever amp I brought that night. FOH is hearing your guitar amp speaker from 3" away from the cone. You've been blasting trying to get over a drum set and playing to a sound that's not what's going to FOH. As Jeff Beck said - "a mic doesn't hear volume, it hears tone."
Singers - You'll hear from your fans, "man you've really gotten better" and "you really sounded great tonight." Granted, those compliments stop after a while due to the fact that you sounding great becomes the norm. One of my raps for singer in selling ears is how much less air you use to hit a note. I use to really have to blast to hit higher notes in my register. With ears, I use way less air. At the end of a show, driving home - I'd be zombied out as a result of the stage volume and the torture I'd put my throat through to battle guitar and bass amps, drum sets, the horn section etc. Now, I'm singing along with the radio (no kidding!).
This back shot shows the 16 channels in from your stage box and the 16 channels out to tails you give the FOH guy. Down towards bottom right are outputs to you wireless or wired in ear monitors
Custom build / 10 Mipro 808TR and two combiners.
System using Shure PSM900 wireless
Questions? Please email or phone: MikeVolkerding@gmail.com / Cell Phone 513.375.3302