In-Ear Monitors (IEMs): The Complete Guide

Each section is marked [Beginner], [Novice] or [Advanced]. Start with the Beginner ones.

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1. What IEMs are and why use them [Beginner]

IEMs are earphones that play a monitor mix straight into the performer's ears. They replace or add to floor wedges.

Why churches and bands switch:

• Lower stage volume. Wedges are loud speakers pointed at the stage, and that sound spills into the room and into every open mic. IEMs make almost no sound in the room. That gives the FOH mix more control and less feedback risk.
• Hearing protection. A good seal blocks outside noise. Shure lists up to 37 dB of noise blocking for the SE215/SE846, and Westone lists an average of 25 dB for its Pro X line (maker figures; your fit decides what you get). Less stage noise means the performer can listen quieter. That only helps if they actually turn it down (see Hearing safety).
• Same mix every week. A wedge sounds different in every room and at every spot on stage. An IEM mix sounds the same wherever the performer stands.
• Less gear to haul: no wedges, amps or speaker cables for each mix.

Trade-offs to know up front:

• Performers can feel cut off from the room and the crowd. Fix it with ambient mics (see Ambient / audience mics).
• Volume creep is real. Everyone keeps asking for "more me" (see The "more me" trap).
• Wireless IEMs bring RF planning, batteries, and FCC rules (see Wireless IEM basics).
• A bad fit sounds thin and makes people turn up. Fit matters more than price (see Fit tips).

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2. Wired vs wireless [Beginner]

Tip: many teams go wired for the drummer and keys player and wireless for the front line. That cuts down how many RF channels you need.

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3. Personal monitor mixers and mixing apps [Novice]

There are two ways to let musicians mix themselves:

1. Hardware personal mixers. A box at each player's spot. The console sends a group of channels or stems, and each player sets their own mix on the box.
2. Phone/tablet apps. Each player controls their own console bus over Wi-Fi. No audio goes through the phone. It only changes send levels on the console.

3.1 Systems at a glance

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4. Stereo vs mono mixes [Novice]

• Mono IEM mix = one console bus. Both ears hear the same thing. It's simple, but everything piles up in the middle, so performers often push the volume to hear themselves.
• Stereo IEM mix = two linked buses. You can pan sources to where they sit on stage. Space between sounds makes things easier to hear, so performers often need less level.
• Cost: stereo uses twice the buses. The M32 has 16 mix buses, so 8 stereo IEM mixes would use all of them.
• Match the chain end to end. A stereo bus into a transmitter set to stereo, into a pack set to stereo. A mismatch is a common cause of "I only hear it in one ear" (see Troubleshooting).
• Wireless "MixMode" (Shure) or "Focus" (Sennheiser XSW IEM) lets you send two mono feeds (e.g., "me" on Left, "band" on Right). The pack's knob then blends them in both ears. It's a cheap way to give a performer a "more me" knob without using a stereo bus pair.

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5. Building a good IEM mix [Novice]

5.1 Order of work

1. Start with the performer themselves. Their own voice or instrument, at a comfortable level, alone.
2. Add their pitch/time reference. For a singer that's usually a keys or guitar part. For a drummer, the bass and click.
3. Add the rhythm section (kick, bass) under it.
4. Add everything else at lower levels. Only add what they need.
5. Add a touch of reverb on vocals. A short room or plate helps singers stay in tune and feel comfortable. Use a separate FX send from FOH if you can.
6. Check it on the actual earphones (solo the bus to your own IEMs, not your headphones). Then let the performer fine-tune.

5.2 The "more me" trap [Novice]

• When a performer asks for "more me", the easy move is to turn them up. Do it every song and the whole mix creeps louder.
• Better move: turn other things down. Same balance, lower total level.
• Set a bus limiter so the creep has a ceiling (see Console setup and Hearing safety).
• Personal mixers make this worse if nobody watches the master. Teach players to set the master low first, then build up.

5.3 Ambient / audience mics [Novice]

• IEMs can make a performer feel alone. A pair of ambient mics (crowd/room) blended in low fixes that and helps them hear the congregation sing.
• Ideas: a stereo pair aimed at the room from the stage edge, high-pass filtered. Keep them out of the FOH mix (or very low) so they don't feed back.
• Some gear has it built in: the DP48 has a stereo ambience mic with auto-ducking, and the ME-1 has a top-panel ambient mic.

5.4 Click and tracks [Novice]

• Click and cues go to IEMs only. Never to the PA. Give them their own console inputs, or send them straight from the playback rig's outputs.
• Keep the click on its own channel so each player can set its level.
• Name channels clearly ("CLICK", "CUES", "TRACKS L/R") so they show up right on ME-1s and apps.
• Use talkback to the band (worship leader or music director mic) on IEM buses only.

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6. Console setup, step by step

6.1 Behringer X32 / Midas M32 [Novice → Advanced]

X32 and M32 run the same software, so these steps work on both.

Before you start: settle bus setup first. Changing it later resets how your sends behave.

1. Plan your buses. Example for a worship team: Mix 1–2 = lead vocal (stereo), 3–4 = BGV (stereo), 5–6 = keys (stereo), 7–8 = drums (stereo), 9–10 = guitar (stereo), 11–12 = bass (stereo), 13–16 = wedges/spares. Write it down. The M32 has 16 mix buses and 6 matrices.
2. Link pairs for stereo. Mix buses link in odd/even pairs (1–2, 3–4…). Select the odd bus, press HOME, and on the home tab tap the first encoder to link it with the next bus. Setup → global sets which settings linked channels share.
3. Set send tap points. In Setup → Config → Bus Pre-Configuration, set IEM buses as pre-fader aux buses. Per-send tap choices are Pre-EQ, Post-EQ, Pre-fader, Post-fader, Sub-group. Many engineers pick post-EQ, pre-fader, so FOH fader moves don't change the band's mix but channel EQ cleanup still reaches their ears. It's a choice, not a rule.
4. Watch mute groups. On the M32, mute groups also mute pre-fader sends. To keep IEM feeds alive, use the pre-mute output tap options when patching IEM/P16 outputs.
5. Pan in stereo mixes. With linked buses, each channel's send gets a pan control. Pan sources to match the stage (drummer's view vs audience view is a team choice). Since firmware 4.00, a send's pan can also follow the channel's main LR pan. Leave it off if the IEM pan needs to differ from FOH.
6. Route the outputs:
   • Wired/wireless transmitters on local XLRs: Routing → Out 1–16, then set XLR Out blocks.
   • From a DL16/DL32: set the AES50 output blocks. The stage box XLR outs carry those AES50 outs.
   • P16: Routing → P16 Out (16 channels, choose sources and taps).
7. Bus processing (each IEM mix):
   • EQ: gentle and broad. Cut harshness and mud, and fix earphone tone if needed. Bus GEQ can go in an FX slot.
   • Dynamics as a limiter: high ratio, fast attack, threshold just above normal level. It's a safety net, not a tone tool.
8. Build mixes fast with Sends on Fader. Select the bus, press SENDS ON FADER, and the input faders become that bus's sends.
9. Hand off to musicians. Set up M32-Q or Mixing Station (with access restriction) and give each player one bus.
10. Save a scene called "IEM base" plus a show backup to USB. Use recall safes if FOH scenes shouldn't touch IEM buses.

6.2 Allen & Heath Avantis / Avantis Solo [Novice → Advanced]

Avantis and Avantis Solo share the same software and menus, so these steps work on both.

1. Setup → Mixer Config. Build your bus layout from the 42 configurable buses (56 with dPack). Example: 6 mono wedges + 6 stereo IEM auxes, plus groups, FX and matrices. The factory Monitors template has 16 auxes (8 mono, 8 stereo) as a starting point.
2. Pre/post. Each send can be pre-fade or post-fade (hold Pre and touch a mix's name block to switch). There's also a global aux/FX pre-fade tap point: Post Preamp, Post LPF, Post Gate, Post Insert A, Post PEQ, Post Comp, Post Insert B, or Post Delay. Pick it once for the whole show.
3. Stereo auxes and panning. A stereo aux gives every send a pan control. Follow Main Pan settings for each stereo mix: Follow copies channel pans from the main LR, and Invert mirrors them. Invert is handy if the band wants the drummer's view of the stage (Avantis FRG V1.30).
4. Patch outputs (I/O screen). Send auxes to local XLRs, a DX/GX stage box, Dante, or ME outputs. For ME, Stereo Link the pair so ME-1 shows one key.
5. Mix processing (each IEM aux): PEQ, GEQ (28-band) or NEQ12 (dPack), and a compressor. Use the compressor as a limiter safety net. With dPack, Dyn8 works well as an "IEM de-harsh" (dynamic EQ around harsh upper mids).
6. Ambient mics: use the mix's External Input to sum them in, or just send them like any channel.
7. Cue: the Wedge/IEM strip and RTA follow PAFL 1 only. If a monitor engineer uses MixPad with PAFL 2, plan for it.
8. Musician control: set User Permissions for Avantis4You/OneMix, give each user access to their one mix only, and turn on the app's mix/processing locks.
9. Save a scene and use scene filters/safes so FOH scene changes don't overwrite IEM mixes.

6.3 Behringer XR18 / X Air series [Novice → Advanced]

Before you start: the XR18 is set up from a tablet, phone or computer, so get every device on the same network first. The built-in Wi-Fi access point takes up to 4 devices. If several players will mix their own ears, use an external router (XR18 product page; X AIR manual).

1. Plan your buses. The XR18 has 6 aux buses and 6 XLR aux outs, plus main LR (XR18 product page). That's 3 stereo IEM mixes, 6 mono mixes, or a blend. Example: Bus 1–2 = lead vocal (stereo), 3–4 = keys (stereo), 5 = drums (mono), 6 = bass (mono). Write it down.
2. Link pairs for stereo. Buses link in odd/even pairs (1–2, 3–4, 5–6) (X AIR OSC command list). In X AIR Edit, select the odd bus, open its Channel tab and press Stereo Link. A link icon shows between the two bus buttons.
3. Set send tap points. Taps are set per channel, for each bus, on the channel's Sends tab. The choices are pre or post EQ and pre or post fader. Click the globe icon, or turn on Apply changes to all channels (Setup → Preferences), to change a tap on every channel at once. In the Android app, the tap choice only shows in expanded view (press S/E) (X AIR manual). Many engineers pick post-EQ, pre-fader, so FOH fader moves don't change the band's mix. It's a choice, not a rule.
4. Pan in stereo mixes. An unlinked bus is a mono mix. Once a pair is linked, each channel's send gets a pan control (X AIR iPad app notes; MX-Q listing). Pan sources to match the stage (drummer's view vs audience view is a team choice).
5. Route the outputs. The Routing → Outputs page sets the sources for Main LR, Phones, Aux and P16 (X AIR manual).
   • Wired/wireless transmitters: feed Aux Out 1–6 (XLR) from the matching buses, for example Bus 1 → Aux Out 1 (left) and Bus 2 → Aux Out 2 (right).
   • One wired IEM at the console: the headphone jack can play a bus or a pair of buses. Pick it as the monitor source in Setup → Monitor (X AIR manual).
   • P16: the X18/XR18 feed P16 personal mixers over Ultranet. Choose the P16 sources on the same Outputs page (X AIR manual; see Personal monitor mixers and mixing apps).
   • USB: the X18/XR18 have an 18×18 USB interface, and the USB sends can carry buses, so you can record a player's IEM mix (X AIR manual; X AIR OSC command list).
6. Bus processing (each IEM mix):
   • EQ: each aux bus has a 6-band parametric EQ, a 31-band graphic EQ, or TEQ ("true" EQ, a graphic EQ that stays accurate when you move neighboring bands). Keep it gentle and broad (X AIR manual).
   • Compressor as a limiter: each bus has a compressor (X AIR manual block diagram). Use a high ratio, fast attack, Peak detection (it reacts to brief spikes) and a threshold just above normal level. It's a safety net, not a tone tool (see Limiters).
7. Build mixes fast. Pick a bus with the Fader Bank buttons (iPad app, X AIR Edit) or Sends on Faders (Android app), and the channel faders become that bus's sends (X AIR manual).
8. Hand off to musicians:
   • X AIR app: there's an iPad version and an Android version. The Android listing offers a single bus-send mode for personal monitoring, so a player can't change other mixes. Behringer says the Android X AIR and X AIR Q apps will soon be deprecated and recommends MX-Mix (Google Play listings).
   • X AIR Edit runs on Windows, macOS, Linux and Raspberry Pi. It's best kept for the engineer (XR18 product page).
   • MX-Q (iOS/Android) and X AIR Q (Android) are personal monitor apps. Each player picks their aux bus and sets send levels and pans, with 4 MCA groups for "more me" moves (app store listings).
   • Mixing Station: set the connection profile's access mode to Personal Monitoring so each device edits only its own mix. Turn on Access bus processing in global settings if players should reach their bus EQ. You can also password-protect buses, but only Mixing Station checks the password (Mixing Station docs).
9. Save a snapshot called "IEM base". The X AIR mixers hold 64 internal snapshots (X AIR Android listing). At recall, the scope picks which channels, parameters (EQ, Dyn, Fdr/Pan, Mute, bus/FX sends) and global settings load. Arm Channel safes on the Scenes/Shows page so recalls don't touch IEM buses, and save the show to a computer too (X AIR manual). If you use Mixing Station bus passwords, leave snapshot 64 alone, because the password is stored there (Mixing Station docs).
10. Other X Air models. The X18 has the same 6 aux buses, but its aux outs are balanced ¼" jacks. The XR16 has 4 XLR aux outs and the XR12 has 2 balanced ¼" aux outs, so plan fewer mixes. P16 monitoring is listed for the X18/XR18 only, and the XR16/XR12 record 2-track stereo to a USB stick instead of 18×18 USB audio (X AIR manual).

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7. Gain staging for IEM sends [Novice]

• Run IEM buses at healthy levels, so the bus meter peaks well below clip at its loudest. A quiet bus with the transmitter input cranked brings hiss.
• Set the transmitter's input sensitivity to match. Many transmitters have a +4 dBu / −10 dBV switch (the Shure PSM 1000 P10T has one, for example).
• Keep the pack volume moderate. If the pack is near max, there's not enough signal coming in.

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8. Wireless IEM basics [Novice → Advanced]

8.1 Bands and the FCC (USA) [Novice]

From the FCC's Wireless Microphones page (in-ear monitors are covered as "similar devices"):

• No longer allowed: the 600 MHz service band, 617–652 MHz and 663–698 MHz (operation had to stop by July 13, 2020), and the 700 MHz band, 698–806 MHz (banned since 2010). Selling or importing gear for those bands in the US is also prohibited.
• Still available: TV channels 2–36 (below 608 MHz). In the 600 MHz guard band, 614–616 MHz for unlicensed use. In the duplex gap, 653–657 MHz is licensed only and 657–663 MHz is unlicensed.
• Other unlicensed bands: 902–928 MHz, 1920–1930 MHz, and parts of 2.4 GHz and 5 GHz.
• Most churches and bands run unlicensed. That means lower power and no protection: you can't cause interference, and you have to accept it.
• Check old gear. If an older system tunes into 617–698 MHz, don't use those frequencies.
• Examples of US-legal bands for gear in this guide: Shure PSM 300 G20 (488–512), H20 (518–542), J13 (566–590). Sennheiser ew IEM G4 A1 (470–516), A (516–558), G (566–608). Sennheiser XSW IEM A (476–500), B (572–596). Sennheiser's G4 "GB" (606–648) and "B" (626–668) ranges overlap the banned 600 MHz band. Don't use those frequencies in the US.
• Outside the US, rules are different. Check your national regulator.

8.2 Frequency coordination and intermodulation [Advanced]

• Scan first. Most systems have a scan or sync feature (PSM 300/900 "scan and sync", XSW IEM banks with 12 channels each, ew IEM G4 up to 16 compatible channels).
• Stay in one group or bank. Maker groups are pre-calculated to avoid intermodulation.
• Intermodulation (IMD): two transmitters mix and create new signals at 2f1 − f2 and 2f2 − f1 (third order). Those can land on your other IEMs or mics. More transmitters in one band means more products to avoid.
• Use software for bigger rigs: Shure Wireless Workbench or Sennheiser WSM. Plan IEMs and mics together. They share the same spectrum.
• Power: more transmit power isn't always better. It raises intermodulation and can swamp nearby receivers. PSM 300 P3T: 10/20/30 mW. ew IEM G4: up to 50 mW depending on region. PSM 900/1000: up to 100 mW (Shure spec).

8.3 Antennas and combiners [Advanced]

• Line of sight from transmit antenna to performers. Mount it up high, not behind a metal rack or down at floor level.
• Directional antennas focus energy on the stage:
  • Helical (e.g., Shure HA-8089, circular polarized). Circular polarization helps because bodypack antennas tilt as performers move.
  • Paddle / log-periodic (e.g., Shure PA805SWB, 470–952 MHz).
• Keep IEM transmit antennas away from wireless mic receive antennas. A common rule of thumb is 3–5 m apart.
• Combiners put several IEM transmitters onto one antenna. Fewer whips, less intermodulation between them:
  • Shure PA821B (8 inputs, active) and PA421B (4 inputs), for P3T, P9T and P10T transmitters (470–865 MHz). For PSM 300 only, the PA411 combines up to four transmitters and also powers them.
  • Sennheiser AC 3200-II (8:1 active).
  • Check the combiner covers your transmitters' band.
• Coax: short, low-loss runs. Every connector and metre loses signal.
• Bodypacks: keep the pack antenna clear of the body and sweat, and off the metal belt clip.

8.4 Digital and 2.4/5.8 GHz systems [Novice]

• 2.4 GHz systems (e.g., Xvive U4) are licence-free worldwide, but they share the air with Wi-Fi and Bluetooth. Xvive's own page lists the U4 as mono, with 5 ms latency and 90 ft (27.5 m) line-of-sight range.
• 5.8 GHz budget systems (e.g., LEKATO MS-50): LEKATO lists <5 ms mono / <9 ms stereo latency and ≥100 ft range.
• Pro digital (e.g., Shure Axient Digital PSM): 2.8 ms latency in digital modes, 1.29 ms in Analog FM mode (Shure ADPSM user guide).
• Analog FM UHF (PSM 300: <0.7 ms). Analog paths add very little delay, but they carry some FM noise.
• Delay adds up across the console, network, transmitter, and plugins. A common rule of thumb is to keep the whole mic-to-ear chain under about 5 ms. Singers and drummers notice first.

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9. Choosing earphones [Beginner]

• Universal fit (foam or silicone tips) is a fine start. Good fit beats more drivers.
• Custom molds are made from ear impressions taken by an audiologist (UE Pro and JH Audio both describe this process). They seal better, feel more comfortable over long services, and give the same fit every time.
• Very sensitive earphones can make hiss easier to hear. Earphones that get loud with very little power, like many multi-driver models, also bring out the faint background hiss from a bodypack or personal mixer. If you hear hiss, see Troubleshooting.
• See the IEM gear list for options at each price tier.

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10. Hearing safety [Beginner → Advanced]

10.1 Exposure limits [Beginner]

These are workplace noise limits, the best published guide we have. They are not IEM-specific rules.

NIOSH (recommended limit): 85 dBA averaged over 8 hours, with a 3 dB exchange rate. Every 3 dB louder halves the safe time. NIOSH: at 100 dBA, less than 15 minutes a day.

(Rows between 85 and 100 follow NIOSH's 3 dB rule. See NIOSH Criteria Document Table 1-1.)

OSHA (legal US workplace limit): 90 dBA for 8 hours with a 5 dB exchange rate. Example from OSHA: 90 dBA allowed for 8 h but only 2 h at 100 dBA. Employers need a hearing conservation program at 85 dBA (8-h TWA) (29 CFR 1910.95, Table G-16).

Bottom line: NIOSH is the safer target for musicians and volunteers. A long Sunday (rehearsal + 2–3 services) adds up.

10.2 Limiters [Novice]

• Console bus limiter on every IEM mix (see Console setup).
• Device limiters: ME-1/ME-500 limiter adjustable −24 to 0 dB. P16-HQ has an adjustable output limiter. The DP48 has an adjustable limiter. XSW IEM has a limiter feature.
• Limiters catch sudden peaks (dropped mics, feedback, pops). They don't protect against a mix that's simply too loud all day.
• Measuring the actual level inside an ear canal needs special gear. Don't trust a phone app for in-ear levels [general caution].

10.3 Fit tips [Beginner]

• Get a good seal first. A tight fit keeps the bass in, so you can listen quieter. If the mix sounds thin or tinny, the earphone probably isn't sealed, and turning it up won't fix that.
• Try every tip size in the box. Foam tips often seal better than silicone. Roll foam small, insert, and hold a few seconds while it expands.
• Pull the ear up and back while inserting to straighten the canal.
• Run the cable over the ear (most pro IEMs are built for this) and use the shirt clip.
• Wear both earphones. One ear out means the other ear gets turned up to compete with the stage.
• Clean tips and nozzles often. Wax blocks sound and leads to turning up.
• Customs: re-impression if the fit loosens (weight change, ageing). Ask your audiologist.

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11. Church and volunteer workflows [Beginner → Novice]

• Make a template once, reuse it weekly. Same bus numbers, same channel names, same pack labels every service.
• Label everything: packs, transmitters and earphone cases with the person's name and mix number, plus the frequency.
• Battery routine: fresh or fully charged batteries every service. Keep a labeled "fresh" bin and a "used" bin. Never mix them.
• Lock it down: use your console's user permissions or app locks so each musician can reach only their own mix. Many monitor apps and personal mixers have a restricted or personal-mix mode, and personal mixers can save presets. Volunteers can adjust their own mix but can't touch FOH.
• Save each musician's preset (ME-1: 16 presets; ME-500: 8; P16-HQ: 16) so rehearsal mixes come back on Sunday.
• Rehearsal routine: line check every IEM output → each player checks their mix alone → full band. Keep a written "known good" frequency list for your room.
• Hygiene: shared universal earphones need fresh tips per person. Better still, each regular gets their own pair.
• Train for "more me". A one-page handout: "turn others down before turning yourself up; master low first."

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12. Troubleshooting [Novice → Advanced]

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Sources (checked 2026-10-29)

Consoles

• Midas M32 user manual (rear panel: "ULTRANET P-16 Connector (No Power Supplied)"; Routing → P16 Out taps): https://www.midasconsoles.com/en/products/0603-ADX
• Allen & Heath Avantis Firmware Reference Guide V1.30 (ME Stereo Link, Pre/Post, Follow Main Pan): https://www.allen-heath.com/content/uploads/2023/11/Avantis-Firmware-Reference-Guide-V1.30.pdf
• Behringer XR18 product page (6 aux buses, 6 XLR aux outs, Wi-Fi access point for up to 4 devices, X AIR Edit platforms): https://www.behringer.com/en/products/0605-AAD
• Behringer X AIR user manual, XR18/X18/XR16/XR12 (send taps, Routing → Outputs, bus EQ, snapshots, Channel safes, model specs): https://mediadl.musictribe.com/media/PLM/data/docs/X-AIR/M_BE_0605-AAA_X-AIR_EN.pdf · copy read: https://r2.gear4music.com/media/20/208369/download_208369.pdf
• X AIR OSC command list (unofficial; bus links in odd/even pairs, USB/aux routing sources): https://schwiftything.com/blogs/code-tips-tricks/x-air-m-air-osc-commands
• Midas M32 user manual PDF (p. 20 and p. 29: bus linking on the HOME screen, Setup → global link preferences): https://cdn-media.empowertribe.com/5a30d52258104865a4392b99550ee1f9/M32_M_EN.pdf
• X32/M32 firmware 4.00 release notes ("send pan optionally follows LR pan function"): https://survivethegig.com/x32-firmware-version-4-00/ · https://www.production-partner.de/test/behringer-x32-firmware-4/
• X AIR user manual p. 25 (bus Stereo Link): https://cdn-media.empowertribe.com/ffe0de45e14541f797928d639a8933b2/M_BE_0605-AAA_X-AIR_EN.pdf · walkthrough: https://www.tricks-and-tips.nl/tips-and-tricks/behringer-x-air-edit-stereo-aux-bus

Personal mixers and apps

• Behringer P16-M (discontinued, replaced by P16-HQ): https://www.behringer.com/en/products/0609-AAB
• Behringer P16-HQ: https://www.behringer.com/en/products/0609-AAP
• Sweetwater P16 quick-start (Ultranet ≠ Ethernet; M32 has an Ultranet port): https://www.sweetwater.com/sweetcare/articles/behringer-powerplay-p16-hq-and-p16-m-personal-mixer-quickstart-guide/
• Midas DP48: https://www.midasconsoles.com/en/products/0609-AAG
• A&H ME-1: https://www.allen-heath.com/hardware/me/me-1/ · ME-500: https://www.allen-heath.com/hardware/me/me-500/ · ME-U: https://www.allen-heath.com/hardware/me/me-u/
• A&H 4You: https://www.allen-heath.com/4you/ · Avantis4You (App Store): https://apps.apple.com/us/app/avantis4you/id6470291059 · A&H forum announcement (40 connections, ~20 per router): https://forums.allen-heath.com/t/4you-apps-now-available/24961
• Aviom: https://www.aviom.com/ · Upgrading/Dante options: https://aviom.com/upgrading-a-system/ · D800-Dante guide: https://www.aviom.com/library/User-Guides/173_D800-Dante-User-Guide.pdf · A320: https://www.aviom.com/AviomProducts/A320-Personal-Mixer.php
• M32-Q (Google Play): https://play.google.com/store/apps/details?id=com.behringer.android.control.app.m32q
• Mixing Station: https://mixingstation.app/
• X AIR for iPad (App Store; stereo aux buses and send taps): https://apps.apple.com/us/app/x-air/id896725230 · X AIR for Android (Google Play; single bus-send mode, 64 snapshots): https://play.google.com/store/apps/details?id=com.behringer.android.control.app.xair
• X AIR Q (Google Play): https://play.google.com/store/apps/details?id=com.behringer.android.control.app.xairq · MX-Q (App Store): https://apps.apple.com/us/app/mx-q/id1471505954 · MX-Q (Google Play): https://play.google.com/store/apps/details?id=com.behringer.android.control.app.x32q · MX-Mix (Google Play): https://play.google.com/store/apps/details?id=com.musictribe.mxmix
• Mixing Station docs, Personal Monitoring: https://mixingstation.app/ms-docs/use-cases/personal-monitoring/ · Global settings (Access bus processing): https://mixingstation.app/ms-docs/settings/global/ · XAir specifics (bus password): https://mixingstation.app/ms-docs/mixers/behringer/xair/

Wireless

• FCC Wireless Microphones (600/700 MHz rules, available bands): https://www.fcc.gov/wireless/bureau-divisions/broadband-division/wireless-microphones
• Shure PSM 300 user guide (bands, latency, RF power, mono setting): https://pubs.shure.com/view/guide/PSM300/en-US.pdf
• Shure PSM 900: https://www.shure.com/en-US/products/in-ear-monitoring/psm900
• Shure Axient Digital PSM user guide (latency per mode, 470–1260 MHz by region): https://pubs.shure.com/view/guide/ADPSM/en-US.pdf
• Sennheiser ew IEM G4: https://www.sennheiser.com/en-us/catalog/products/wireless-systems/ew-iem-g4/ew-iem-g4-g-508170 · bands: https://docs.cloud.sennheiser.com/en-us/ew-iem-g4/ew-iem-g4-ek-technical-data.html
• Sennheiser XSW IEM: https://www.sennheiser.com/en-us/catalog/products/wireless-systems/xsw-iem-set/xsw-iem-set-a-509146
• Xvive U4: https://xvive.com/audio/product/u4-in-ear-monitor-wireless-system/
• LEKATO MS-50: https://lekatodeal.com/en-uk/products/lekato-ms-50-5-8g-wireless-in-ear-monitor-system
• Shure PA421B/PA821B guide: https://www.shure.com/en-US/docs/guide/PA421B-PA821B
• Shure PA805SWB antenna (470–952 MHz): https://www.shure.com/en-US/products/accessories/pa805 · guide: https://pubs.shure.com/view/guide/PA805SWB/en-US.pdf
• Shure PA421B: https://www.shure.com/en-US/products/accessories/pa421b · PA411 guide (PSM 300): https://pubs.shure.com/view/guide/PA411/en-US.pdf
• Sennheiser AC 3200-II: https://www.sennheiser.com/en-us/catalog/products/wireless-systems/ac-3200-ii/ac-3200-ii-505497

Hearing safety

• NIOSH / CDC, Noise-Induced Hearing Loss: https://www.cdc.gov/niosh/noise/about/noise.html
• OSHA, Occupational Noise Exposure: https://www.osha.gov/noise (standard: 29 CFR 1910.95)

See the IEM gear list →