IEMs for Bands: What In-Ears Are and What to Put on Your Rider

In-ear monitors, or IEMs, are small earpieces that play your own monitor mix straight into your ears. They replace or sit alongside the wedge speakers on the floor, and they need a few clear lines on your tech rider so the venue is ready.

This guide covers how in-ears work, what to bring, and what to write down. We will use a made-up four-piece called The Night Shift as the example.

In-ears vs wedges

A wedge is a speaker on the floor, pointed back at the player. Everyone on stage can hear it, and so can the front rows. Wedges are simple and most venues have them.

In-ears go inside your ears. You hear your own mix, and the stage is quieter overall. That can make the sound out front cleaner, because there is less stage noise spilling into the room.

Some things to know:

• In-ears take a little getting used to. Some players feel cut off from the room at first.
• Many bands add a pair of audience mics so the crowd can be heard in the mix.
• Wedges are easier for a one-off show at a small venue with no time to set up.

There is no right answer. Plenty of bands mix and match, with the drummer on in-ears and everyone else on wedges.

Wired vs wireless

There are two main ways to get the mix to your ears.

Wired. Your earpieces plug into a small box, often called a headphone amp or a wired pack. A cable runs from the box back to the stage. It is simple and reliable, and it suits drummers and keys players who do not move.

Wireless. A transmitter sits side of stage and sends the mix over radio to a belt pack you wear. You can move around the stage freely. It suits singers and guitarists who like to roam.

Wireless is more flexible, but it needs clear radio space. More on that below.

Your own gear vs venue gear

Most bands bring their own earpieces. They go in your ears, so sharing is not ideal. Some players use custom-moulded ones, and some use good universal-fit ones.

Packs and transmitters are a different story. Some bands carry a full system. Others use whatever the venue has. Both can work, as long as everyone knows the plan.

Your rider should say clearly:

• What you bring (earpieces, packs, transmitters, cables)
• What you need the venue to supply
• Who in the band is on in-ears and who is on wedges

How in-ear mixes work

Each player on in-ears usually gets their own mix. The mixer sends a separate blend of the band to each person.

At a smaller show, monitors are often mixed from front of house by the same engineer who mixes the room. At bigger shows there may be a separate monitor engineer side of stage. Either way, the engineer needs to know what each person wants to hear.

What to ask for in each mix

Keep it simple. Name the main things each person needs, in order of importance. Here is how The Night Shift writes theirs:

Some tips for writing mixes:

• Say "stereo" or "mono". Stereo mixes use more outputs from the desk.
• Put the most important thing first.
• Say what you do not want. "No keys in my mix" is useful.
• Keep notes after each show about what worked.

Click and tracks

Some bands play to a click track, backing tracks or both. This usually runs from a laptop or player on stage.

If you use them, your rider should say:

• What is running the tracks (for example, a laptop with an audio interface)
• How many outputs go to the desk, and what each one is
• Which outputs are click only, and must never go to the room
• Who needs the click in their mix

The click is the one thing that should never end up in the PA. Label it clearly on your input list so the engineer does not route it by mistake.

What to write on the rider

Your in-ear details belong in the monitor section of your tech rider. A clear section looks something like this:

• Who is on in-ears and who is on wedges
• Wired or wireless for each person
• What you bring and what you need supplied
• Number of mixes, and whether each is stereo or mono
• Mix notes for each person, like the table above
• Click and tracks, with outputs listed
• Audience mics, if you want them
• Power needed side of stage for transmitters

Draw your in-ear packs and transmitters on your stage plot too, so the crew knows where they go.

The tech rider builder has a monitor section where you can set each player to wedge or in-ears and add mix notes. RoadCase then lists the mixes for the engineer.

Frequencies and wireless coordination

Wireless in-ears and wireless mics both use radio. If two systems try to use the same space, you get dropouts and noise. On a busy bill with several bands, this can happen fast.

The rules about which frequencies you can use depend on where you are, and they can change. You do not need to be an expert. You just need to share the right details.

On your rider, list:

• The make and model of each wireless system
• The frequency range each one covers
• How many channels you use

Then ask the venue or promoter if they coordinate wireless for the night. Some venues have a person who plans frequencies for every act. Others leave it to each band. Ask the venue well before the show, not at changeover.

Protect your hearing

In-ears can help you hear clearly without cranking the stage volume. But it is still easy to turn them up too loud, especially on a long tour.

A few general habits help:

• Start each soundcheck with the volume low and bring it up slowly.
• Use a good seal. A poor fit makes people turn up to hear.
• Take breaks from loud sound when you can.
• Wear earplugs when you are not on in-ears, like watching other bands.

Talk to an audiologist about your hearing and what is safe for you. They can check your ears, help with fit and give you advice for your situation. Your ears have to last your whole career, so look after them.