Earworn Monitor Systems: All Foldback, No Feedback (Part 1)
Three Decades, 1971 - 2001

By Anthony McLean & Steve Harvey

THE NAME GAME

Some call them Personal Monitors, many call them In-Ear-Monitors or EWMs. LSMAG! has always called them non-brand specific and technically acurate, Earworn Monitors (EWM). EWM systems have caused a revolution in Performance Audio standards and practice that has spanned stage monitoring, broadcast and full range talkback. No matter the name, EWM are here to stay.

NOVEMBER 1971

Photo #1: The long gone, but never forgotten Keith Moon, headphones in place.

As far as we can tell, Bob Heil is the father of EWM technology, and this year, 2001, is the thirtieth anniversary of the first use EWM systems, for live performance. The band was The Who. Back then, Baba O’Riley set the stage for the The Who’s dramatic entrance with a pre-recorded VCS3 sequence. Heil used a pair of Koss, and later Beyer cans, powered by a Crown D-60 (plenty of headroom) to provide the click and synthesizer track playback to Keith Moon. (see Photo #1) This technique employed a pair of Scully tape decks for playback. Moon got the clicks in his left ear and program (his monitor mix) in his right ear. Moon liked it. Equally important, this configuration eventually eliminated two JBL 2482s on radial horns which had been previously mounted next to Moon’s head to compensate for Pete Townshend’s over-the-top stage SPL. After that, the headphones became a constant in every Who show.

STEVIE, THE DOOBIES & THE DEAD

Stevie Wonder’s road ally, Mick Parrish, remembers using an EWM system by Steven Ambrose (in L.A.) in the early 1980s that cost “an arm and two legs” or essentially the same price then as they are now.

By the mid 1980s they had started taking a transmitter from Stevie’s radio station out on the road with them, while using Sony FM Walkmans as receivers and utilizing low FM frequency bands.

Chris Lindop, interviewed later in this text, recalls that only Stevie used the system and the band was expected to follow him. Parrish also recalled another system (he couldn’t remember the brand) that they tried during a Super Bowl rehearsal, that never performed well and was carried only as an emergency spare.

Later, several bands, like the Grateful Dead began experimenting with rudimentary EWM systems. The Doobie Brothers, for instance, began appearing onstage with hardwired stereo “cans.

Early systems were mono, with limited frequencies. The need for stereo systems became immediately obvious and soon followed. Multiple, selectable frequencies then became s standard. These days EWM systems are everywhere, especially in broadcast and in musical performance.

EARLY EWM SYSTEMS

IN 1979

Marty Garcia noticed that vocal fatigue was inevitable on nights when Todd Rundgren had to sing out over the roar of instruments on stage. By the end of each show, Rundgren’s voice was lost and, over time, getting progressively worse.

Garcia, who knew that Rundgren could benefit from “in-the-ear” monitors, “approached Todd with my concept. He told me that if I were the one putting them in his ears that he’d give it a try.”

Garcia soon purchased some off-the-shelf earphones. Later, he made custom ear molds and pieces that could stay in place during performance.

“One of the first attempts was actually made with denture adhesive. We tried silicone materials along with modifying some of the Sony earphones that were available back then.” Improved performances were almost instantaneous. Vocal and hearing fatigue occurred far less often.

“The shows went great and Todd sounded great.” Rundgren then asked Garcia, “How are you going to make this so every band member can perform without wedges?”

Garcia’s method was to incorporate the same wire into a multi-cable and connect all inputs/outputs in a small belt pack. Each musician had an 80ft(24.3m) multi-cable and belt pack onstage with no other obstacles beside the motorcycle drum kit.

In 1985, Rundgren performed as the first tour completely without stage monitor wedges or backline and completely reliant on Ear Monitors. This was Todd Rundgren’s Utopia and The Tubes.

Garcia continues, “All four Utopia members had Ear Monitors with special hardwired packs. “The only speaker used was for the drummer, who had a motorcycle ‘D-Drum’ drum kit. The catalyst for this was that the headliner’s production did not allow time to sound check or any equipment set up.”

MOMENTUM BUILDS

Al Jareau and Engelbert Humperdink soon expressed interest in this system and Garcia began research on hearing aid shells. The quest also began to create a fully wireless device.

Garcia continued, “At that time, there were no real wireless systems. We began to use FM Walkmans from the Asian grey market that tuned from 76-108MHz and worked below 88MHz mark, (Editor’s Note: The low end on the North American FM dial) and we used custom low-powered transmitters. This was the first stereo wireless ear system in pro-audio in the mid 1980s.”

During the early 1990s Garcia collaborated on an OEM product with the Stage Radio Company and later distributed the Future Sonics Radio Station in North and South America. Co-developers Chris Lyndop, one of the world’s leading FOH sound engineers and Martin Noar distributed the product via their company, Personal Radio Systems, in Europe.

Early VHF Radio Stations were produced as early as 1989, and beta-road-tested by Sinead O’Connor, Rod Stewart, the Pet Shop Boys and Michael Bolton. By 1991, the systems had been upgraded to UHF, and earned a serious following among touring professionals.

1992 WAS A BIG YEAR

The Steve Miller Band had already toured with a complete Future Sonics system designed by Garcia and Miller’s engineer, Steve McCale. Don Pearson with UltraSound and Grateful Dead bassist, Phil Lesh had heard Miller’s system and asked for a demo.

Mary Garcia remembers, “Don had arranged a separate mix for Phil Lesh to try the system. I arrived early for sound check. Don said that I should hang out and Phil would let me know ‘when’.

“I hung out all afternoon until Phil introduced himself to me and said ‘when I nod to you during the show, come out and hook me up. I said, ‘Phil, why don’t we try a sound check first.’ He said that they were not doing a sound check and that it will be fine.”

Garcia had his natural reservations but followed through and recalls, “During the show, I set a mix up on my ears until Phil nodded to come out on stage. I hooked him up and he just grinned the rest of the show.

“Lesh convinced the rest of the band to meet with Garcia in their next studio rehearsal. I set up the whole band with mixes and instantly saw the excitement and quiet enthusiasm as they began to really hear themselves - especially their vocals. I immediately got the call to put together a complete system for that tour.

That year, 1992, Steve Miller co-headlined with the Grateful Dead’s stadium tour. This was the first major tour, not to mention 65,000+ seat tour, without any speakers in the stage area, no wedges, fills or back line amps anywhere.”

THAT SAFETY THING

In 1991, when Future Sonics, Inc was officially founded, most Performance Audio Professionals were reluctant, mainly from fear of feedback or what happens when something goes wrong, to try EWMs. Marty Garcia recalls, “We added the Aphex Dominator wide-band multi-limiter (used in many broadcast situations) to every system we designed.”

Still, brick-wall peak limiters only guard against trauma due to transient pops and spikes. Such limiters can’t be relied on to regulate excessive trauma from overdriven monitor mixer or user-controlled earpiece amplifiers.

The Widely Used Aphex Dominator

As such, safety remains a major concern.

As the OSHA regulations indicate, extended exposure to moderate and above levels is as dangerous as short, intense exposures.

EWMs are no different than any other transducers. These systems though tiny compared to stage monitors, are still capable of delivering harmful levels of up to 120dBA at the eardrum. Excessive SPL from “too loud” EWM systems can cause irreversible inner ear damage, resulting in tinnitus and permanent hearing loss.

Most vendors insist an EWM-savvy audiologist, is a must. LSMAG! strongly encourages you to locate an audiologist with real world expereince in the safe use of earworn monitors before you commit funds to any EWM system.

The professional option is to hire an audiologist who is equipped with miniature probe microphone technology, to measure sound levels at the eardrum. This method demonstrates and documents EWM loudness during real world use.

Taken during live rehearsals, this technique establishes personal ISO or OSHA or baselines. These measurements also allow the audiologist to inform performer/users about the appropriate sound level in regards to daily EWM system exposure.

Future Sonics has established a global audiologist network and global support team to service their clients. Future Sonics also offers hearing protection devices such as custom Etyamotic Musician Ear Plugs in 9, 15 or 25db reduction filters.

These can provide hearing protection with the ability to evenly filter HF with the lows maintaining a clean sound, at reduced SPL, as opposed to the muffled sound from other types of hearing protection.

EAR MOLDS

Ear molds are widely available in generic (universal fit) styles and prescribed as custom devices. Predictably, generics are less expensive. Custom-molded transducers, while pricier, offer the greatest acoustic isolation. Like most audio gear purchase decisions, it’s a cost vs benefit analysis.

Everyone has had a negative experiences with “one size fits all” sizing, and ears, like other body parts, vary widely in size and shape. As such, generic ear molds can be too small and dislodge, causing serious mid-song embarassment, or at the very least, user discomfort.

EWM systems must also isolate the ear from audience, FOH P.A. and backline. The engineering goal is to maintain a favorable signal-to-noise (S/N) ratio inside the ear canal allowing EWM users to listen at lower levels.

Future Sonics Model EM3 Generic Earpieces

Any device with open sound ports will not maximize isolation from background noise. Unless the EWM earpeices seals the ear canal, outside sounds will mask the foldback mix and yeild louder monitor levels. Which EWMs are right for your band or client? Take a test drive. Generic earpieces are widely available for rental/hire/demo and the wise EWM demo option. Likewise, one-time users, such as corporate presenters, should be expected to succesfully use generic earpieces.

Just because a generic mold “doesn’t feel right” doesn’t mean that EWMs aren’t for you or your client/employer. The greatest user comfort comes from custom molds. The taking of audiological impressions requires approximately twenty minutes at an audiologist office.

Still, EWMs are not for everyone. Accept the fact that some performers, especially veterans, are never comfortable with the “sealed-in” EWM feeling. No amount of persuasion can change an individual aversion to EWMs.

PERSONAL HISTORY & PRIVACY

The most accepted EWM safety methodology is to establish a personal case history for anyone involved in prolonged EWMuse. This involves a hearing test, measurement of in-the-ear sound levels, strategic application of peak limiters and understanding of the use of personal monitors as protective devices.

The hearing test is a “must” to establish a baseline for all future tests. Regular testing is the only reliable way to evaluate an EWM’s effectiveness as a hearing protection strategy.

EWM BENEFITS:

For Performers

Freedom of Movement for Performers/Users
Individual Volume Control for Performers/Users
Superior Dynamic Range and Frequency Response
Outstanding Low Frequency (LF) Response
Look
Designer Models (Colors & Jewelry) Available to Enhance Stage Show
Reduced Vocal Fatigue
Reduced Hearing Fatigue and/or Damage

For Production Crews

Quick to Rig & De-rig
Less Truck Space Required
Reduced Weight
Precise, Repeatable Set-up

For Monitor Engineers

Elimination of Feedback
Minimized On-stage Phase Problems
Shorter, Less-stressful Sound Checks
Direct, Discrete In-show Communication with Individual performers

For FOH Engineers

Lower On-stage SPL
Mic Selection Based on Performance, not Feedback Control

For Audiences

Improved Sightlines
Elimination of Stage Spill and Coloration
Happier Musicians Play ‘Mo Betta’

 

Ear Monitors®, Ear Monitors, the Ear Monitors brand and name, EM2, MG4, Future Sonics EARS, all affiliated logos and images are registered trademarks of Future Sonics, Incorporated.

July/August 2001 Live Sound International