[gregsq]

Trying to work out whats going on with IEM's is pretty difficult. Auditioning them is nigh on impossible, for health and other reasons.
I've read a lot of the posts here, and am not really any the wiser I'm afraid. 
 
I would like to get some IEM's that are good at monitoring audio mixes. This can mean that they are not necessarily the 'best' sounding. Brings to mind the Yamaha NS 10's that are used by studios all over the shop, a dependable mix reference. Would anyone in their right mind own these to enjoy music with. No, they sound terrible but if you mix to them and it sounds alright, then it will probably work elsewhere.
 
I may have been caught by fanboys and marketing, and bought some Monster Copper Pro's. Another spit boom machine that may be of some use, as if a mix can be made to sound good on these, then it will probably work on an iPod/Phone or car radio too.
 
So, irrespective of money, what is the opinion of mixmasters, and where to from here. I am aware of the usual IEM suspects, which I haven't heard of course. Which of these for this peculiar task, or should I just stay with over ears.
 
Thanks all.
 
 

 

[mark2410]

um3x

 

[Tronz]

UE IERM.

 

[gregsq]

Thanks for replying. I'll start looking into these two options. I'll let you know how I go.

 

[FearSC549]

Audio mastering/editing....you need a very accurate set of IEM. What is your budget? 

 

[gregsq]

Doesn't really matter, though in UK pounds less than 400, though I'd stretch it out. Its really what it takes to do it right. I am upgrading my kit, with a new RME interface and other things.
 
I've used a lot of different kit, but haven't had the experience in the studio to be able to do the mental arithmetic you learn. What I've found is that I can be mislead by even the Sennheiser HD 580's that I sometimes use, and even more so by some pretty special hi-fi I have. These are pretty good headphones, in that they sound very nice, but they can lead me to not try hard enough to get the spatial characteristics right for the majority of playback scenarios.
 
The monster pro's are heading in the right direction for hearing from one point of view. I definitely get a better sense of overall power distribution across the listening width, and are a fallback in the same way that NS10's are in the open air scenario. But they are a bit gritty if I can put it that way, when it comes to combined frequencies across a range. I sensibly should expect this from a single driver.
 
I also guess that more than one driver gives better physical linearity, though crossovers and phase shift complicate that a little, and the membrane composition, mass of and all the rest of those considerations are where state of the art matters.
 
I'm sure that these devices will evolve into very accurate scientific devices.
 
So, in short, I don't want to drop quality for the sake of a little money. Whatever I get has to have more phase coherency than the Copper Pro's. And I can only afford to get one more pair of IEM's. Lots more to acquire.
 
Thanks.
 
 

 

[JackKontney]

Sensaphonics 2MAX for reference accuracy. Two drivers, one crossover. Multiple crossovers risks exactly the type of phase coherency issues you mention.
 
For NS-10 style "average system" mixing/mastering, I don't think there's any body of knowledge to go by with IEMs. It's an interesting question.
 
Not intended as a diss, but what are you doing on this forum? Do you hang at any pro audio spaces?
And what kind of music are you mastering?

 

[calipilot227]

Quote:

um3x

another vote for the UM3X
 

 

[gregsq]

It is a pretty interesting question I think. As to why I'm asking here, well because it appears to be the only place where questions like this are thrashed out. I've run around the web looking at all thats being said, and actually apart from IEM's for performers, and recording monitoring in live events, this is still a fairly new thing.
 
I'm moving around a lot at the moment, and so my circumstances are more mobile. Also, real experts are hard to find, and this applies to the pro audio crowd as well. Discussions about this and that aspect of digital audio can be fun, invigorating and reductive to the point that all the production problems with DAW's and attachments are pretty well satisfied.
 
As I say, I have lots of interesting bits and pieces, and a standard studio setup is at my disposal. But IEM's are another solution for real work, especially when mobile.
 
Your question about style of music is a great one. I'm tempted to say both kinds, country and western, but no, its a variety.
 
I make orchestral music for film, and as a passion, having an education in that. I also make NIN style rackets and dance music.
 
The common feature is the space to portray these sounds within. Ones delicate and the other a balance of power. Too little detail and I'll misunderstand even something as important as added reverb. Too idiosyncratic, or coloured, and I'll be lost as soon as it plays on an iPhone.
 
So, it has to be tonally accurate, plus able to be driven. If I can get an orchestra laid out well, that will absolutely suit the other, I think

 

[calipilot227]

Hmm, were you looking for customs or universals?
 
In terms of universals, the ER-4B/ER-4S is still going strong after 20 years (introduced in 1991) and is used in many recording studios throughout the country. The UM3X is very popular among musicians for its comfort, non-fatiguing sound signature, and low profile (which makes it particularly good for stage monitoring).
 
As for customs, I have yet to venture into that world.

 

[gregsq]

After the comments on the UMX3, I've noticed that Westone have tried to make the range flat. This looks like a real option, after having read good things about the Westone 3 and 4. I'll have a look at them, and agree about the compromises made when increasing the driver count. Can be done, but needs care.
 
Thanks to all so far for your comments. More as it unfolds

 

[calipilot227]

Quote:

After the comments on the UMX3, I've noticed that Westone have tried to make the range flat. This looks like a real option, after having read good things about the Westone 3 and 4. I'll have a look at them, and agree about the compromises made when increasing the driver count. Can be done, but needs care.
 
Thanks to all so far for your comments. More as it unfolds

And I would recommend against the Westone 3 for studio use, as its sound signature is far from flat (bloated midbass, sibilant treble).
 

 

[gregsq]

Calipilot227, I have a question for you given your rigs. I know the Grado / Allessandro sound pretty well, as well as the Sennheisser. My HD580's are wider in soundstage than the Grado's, maybe you'll agree, but otherwise reduced front to back, and this characterstic can really mislead with instrument depth. How would you describe the aural view you get from the UM3X's you have.

 

[gregsq]

To JackKontney thanks for the Sensaphonics tip. Looking into these as well.

 

[JackKontney]

Quote:

To JackKontney thanks for the Sensaphonics tip. Looking into these as well.

If you want to talk to someone who is an IEM expert and also does studio recording, call Sensaphonics and ask for the Sound Guy. He has real depth of knowledge that you can tap into.