For anyone looking to get into IEMs, the Behringer P1 and KZ ZS10 Pro earbuds are a great way to give it a proper go and not spend a lot of money. A real bang for the buck combination. At least for anyone that doesn't need wireless, since the P1 is a wired beltpack (needs an XLR cable to feed it from your mixing console) (AKA "hardwired"). Amazon Affiliate Links: KZ ZS10 Pro earpieces- amzn.to/37Q8mnJ Behringer Powerplay P1 Personal In-ear Monitor Amplifier- amzn.to/3bNZiRu ---- Videos: 5 Tips For Better Live Vocal Mixes: th-cam.com/video/oP4sdpkkNhY/w-d-xo.html Connecting a Behringer XR18 To Reaper: th-cam.com/video/xYmJGyroVe0/w-d-xo.html Connecting a Behringer XR18 To OBS For Live Streaming: th-cam.com/video/aNlBOOhWbZw/w-d-xo.html Five Mistakes Made By Behringer X32 Users: th-cam.com/video/tP7dO2Za6bw/w-d-xo.html Audio Compression Basics: th-cam.com/video/1hyIQqw0fUg/w-d-xo.html
KZ in-ear monitors absolutely rock, I'd put them up there with products priced three or four times as much. For anybody who doesn't want their IEM sound coloured by the monitor itself though, I'd highly recommend looking at the AS10s. I'm a bassist who uses them in my band, as do some of the other musicians, and they're unbeatable. They've got a pretty even and flat response, aren't artificially voiced to boost low end or anything like that, are easily driven and are very loud, so you have plenty of headroom. The separation of the instruments is also fantastic as well, I liked them so much I went back after I bought my first pair and bought another two!! I use the AS10s with a Powerplay P1 in my band, and in my opinion you will seriously struggle to find a better budget IEM set up that costs less, and works better.
I play drums in a hard rock cover band and put this system together about a year and a half ago and used them for several gigs before covid shut us down. It was a total game changer. We use an xr18 for our live pa rig and this exact setup was easily the best thing that ever happened to my live gear. My playing improved dramatically as I was no longer chasing volume and loosing all dynamics in the process. My in ear mix is mostly the bass guitar, my bass drum, vocals, and a little bit of everything else. Because of this customization, I was able to really lock in with the bass and we were able to provide a great rhythm foundation for the rest of group. I even played around with a click in the other channel. I am getting better at using it and was planning to use the click when playing out but . . . well covid. If you are thinking about moving to the world of in ears, this setup will work great. As they said, the only negative is mobility but for me, I get to sit all night so . . . let the singers and guitarists break the bank on wireless systems. Thanks for the video and all the others as well Alan.
Great real-world info! ...And I know all about the shutdown stuff... :( With a little research, musicians really have some solid budget options these days if they research first and spend second.
I'd think you definitely could with the P1 and get good results. Technically, I think the P2 should work too BUT you might like the input mixing options on the P1 as you go forward.
I am trying to decide between the behringer P1 and P2. I am using the mee audio m6 pro. P1 seems a bit quieter than the P2. However the two inputs are great. Is it loud enough? I guess it is.
@@AlanHamiltonAudio You are very welcome. I hope you don’t mind me asking but I recently tried IEMs for the first time and my guitar tone- and my overdriven tone in particular- sounded absolutely horrible. It was the proverbial ‘wasp in a jar’ distorted tone. Do you have any tips for EQ’ing your guitar signal prior to send it to the IEM’s, please? Admittedly, on this occasion I am describing the guy doing the sound was the drummer and his wife was the lead vocalist, I suspect that he focused on getting her a good sound in her in ears and didn’t bother with the rest of us. As it was my first experience using IEMs I was a bit shocked and disappointed at how bad my guitar sounded. If you can offer any help I’d be very grateful, thank you.
@@TimGuitarcouk What kind of earbuds were you using? Good/bad earbuds can make or break tones. Also that includes improper fitting earbuds. There are huge differences between earbuds, and what works 'ok' for an MP3 might really fall on their face as in ear monitor earpieces. One reason is the driver(s) just not holding up to a full, live, highly dynamic mix. The other is the stage volume and the earpieces not able to block out ambient sound. Obviously some people go to the trouble of getting molds for a perfect fit. But others buy different tips to try on their earbuds to find the most comfortable and best fit and seal. Different sizes, different builds. Some have silicone tips. Some have a foamy tip that you squeeze, put them in, and they expand to create a seal. I know the KZ earpieces work well for not a lot of money, and I buy a package of foamy tips to go with them for myself. They sell a 3 pack of small-med-large so you can check the best fit. When the earpieces seal, and you have more control of what is intentionally going to your ears, you instantly notice a fuller, fatter sound. So, that is one reason something that falls so much into the midrange area like guitar could sound bad in IEMs. And if the guitar is what you're focusing on, then that might be the place you really notice it, and/or care. But that's not the only place someone can fall into a trap and have problems... Over-EQ... IF the monitor sends are tapped post-EQ on the channel, and the person mixing FOH has went crazy twisting and dialing on the EQ of a channel, they could've dialed it in for FOH, and dialed it in for any FOH deficiencies, or just did a poor EQ job in general, and the musician gets that poor EQ job directly into the ears. And anything you do to try and fix it on your amp or pedal/processor, or mic placement, they will counter trying to get back to that sound they had initially in the house (that they apparently liked). One possible and potential solution here is just to tap the guitar channel monitor send pre-fader at the pre-EQ point. I'm talking on the channel, not the outputs. That way, you get your guitar sound as it's sent to the system, and before the FOH tech starts tweaking on the EQ. And that leads us to another point that could be taking place... Good sounding and fitting earbuds should need little to no bus EQ on the monitor outputs. Generally a HPF in the 20-40Hz range... maybe 60Hz... and maybe a LPF at 15K, 16K... and nothing else... Would be perfectly fine. Is it possible there's a small overall tweak you might like for your mix? Yes... But it should be small. Not major cuts or boosts. And not several of them either. If something like that is going on, it could all be adding up to countering what might even be GOOD EQ on the channel strip. Or making poor channel EQ even worse. And then finally, something else to consider, especially with a 'no amp' stage (or no mic'ed amp) and direct guitar sound from a pod/box into the system- If the musician sets that up at home on tiny speakers or headphones, instead of live boxes, or on small boxes, it's possible the sound they dialed in could be doing things counter to what works when it goes thru a full PA. Which could mean it doesn't sound good in the PA and forces the tech to hit the EQ... Of course, (especially for a band where everyone works together regularly) they probably should discuss it with the player before making EQ changes: "I'm getting a TON of low end from your guitar". Then let the guitar player adjust first and foremost to that flat signal in the PA. Meanwhile, if the tech isn't experienced, or just goes to work on the EQ strip without even discussing what FOH is hearing to begin with on guitar... they're going to dial in a really thin guitar sound to compensate for the extra bassy signal they were getting. And if the PA was already balanced and skewed toward a low end dominant FOH setting, then it just magnifies what was coming into the board even more. So they will potentially HPF higher, cut lows, low mids, mid scoop, etc to get it to sound 'workable' in FOH. And if you have a post-EQ guitar channel monitor send... all of that EQ work is going to your ears. Yet it was done to fix the sound in the house, not what you're hearing in your ears. Maybe you don't even have a chance to hear it sounding overly fat because by the time the monitor feed is turned on for your IEMs, the guitar channel EQ has already been dialed in. And really, every one of those problems, or any number of them could be happening. So there might not be one fix. But it's probably easiest to listen to a CD/MP3/WAV player in the PA and make sure the PA sounds good itself. Then play your guitar WITHOUT any EQ on the channel thru the PA and see what it sounds like. See what you're actually sending the PA. Maybe tweak the guitar sound at the stage if it doesn't sound good in the house versus trying to fix it with channel strip EQ. Flatten any bus EQ on your IEM output. Listen to your ears and see if your guitar sound comes back to life. Finally, consider whether you like a pre-EQ channel monitor send on your guitar versus what the FOH tech does to your guitar sound. And all of this still relies on having good sounding earbuds WITH a good fit/seal. I know something like the Phenyx Pro IEM system, budget that it is, doesn't sound good with the earbuds that ship with it. But performs solidly with a good set of earbuds. Something like the Senn G4's ship with good earbuds to begin with. That doesn't mean you might not like something else better than one set of ears over the other, but it does mean your starting point matters. Asa does the fit. I suspect the problem lies somewhere in those things... and like I said... maybe at multiple points. Your guitar sound could be a victim of a multitude of small cuts and scrapes versus just one big 'injury'. Mistakes are cumulative. One small mistake or issue might be tolerable... several of them, not so much.
Something like that is almost always a gain structure issue. Either not enough gain on the click in the first place, and/or too much gain everywhere else. Also, possible there's compression (or too much compression) on the mix bus (or possibly the click itself) and with it being the loudest thing in the bus it's triggering the compression and burying things. That would affect everything on the bus, but if the click was the trigger by being the loudest thing, it could mask that it's hurting everything since it's the click being focused on.
+1 right here, Gary; I've found the AS10s to be pretty flat and not with a boosted low end or anything, and they're really loud so there's plenty of headroom there. To be honest, after having tried numerous KZ products (because they're so cheap, why wouldn't you?), I settled with the AS10s and bought three pairs of them, just to make sure I always had them. They're that good.
For the mic stand attachment, how do you remove the 3/8" thread adapter in order to access the 5/8" hole? I tried a tool to unscrew it but it won't budge!
I used a quarter. Fits the notches perfectly. But mine wasn't so tight I couldn't turn it by hand. I suppose a quarter and some pliers, or Vise Grips or Channel Locks for leverage might work. It's normally threaded so "righty-tighty and lefty loosey". No special tricks involved with reverse threading or anything.
That's right! Few people, once they hear a proper IEM mix, with good earbuds (or headphones) with a good seal (so they aren't still hearing (and competing with) unwanted stage wash), don't instantly become converts to IEMs. But I do know some people that didn't give IEMs a fair chance because they tried to use cheap earpieces that weren't right for the job, and/or had wonky mixes and things going on like in the "5 Mistakes" videos. So they got snakebit and are afraid to try again. I think they are getting so commonplace these days that people are a little more open to trying them again though... realizing their early experience couldn't have been the norm or they wouldn't be so popular.
@@HumVDoctor1 I've not tried the P2's because I like the option of having two balanced XLR inputs for stereo. For mono operation, assuming all else is equal (same output circuitry hopefully) then the P2 would be an option. And for stereo, for short runs, it could still be an option with the proper adapters. But for long cable runs, I would only feel safe (and noise free) running it mono with a balanced cable (XLR mic line). Meanwhile the P1 doesn't have that limitation (for stereo). The P1 also has an option to power it from the wall with a wall wart. I don't think the P2 has that, but for a beltpack that isn't much of a dealbreaker for me. ...But for anyone in a situation where the beltpack isn't going to move, that would be losing a cost-saving option. But, for mono, and batteries... with the caveat I've not tried one... I'd think it would be fine.
@@AlanHamiltonAudio thank you very much. I’m the worship leader of a 5 person worship team & tomorrow we will be using IEM’s for the first time ever. We will also be using the XR18 for the first time. You’re videos have been a big help to me for getting it all set up. We had rehearsal tonight and we loved it!
Alan, I use this unit for personal monitor on a X18 using Bus 6. The Powerplay P1 has a limiter built in I think. One of the singers wants to use an Xvive U4 wireless IEM unit which does not have built in limiter. Is there a plugin limiter that can be applied to the Aux sends to protect that channel from sudden volume increase?
The aux send output itself has a built in compressor, just like the channels, that will go all the way up to 100:1 so that aux out compressor could easily do limiting without adding anything.
Hi, I'm from Chile. I have a question: I have the Laney A1 Plus acoustic amplifier that has an XLR-DI output. Can you connect that amp output to the Behringer P1 for personal feedback? This is apart from the sound that the amplifier's speaker emits itself.
Does the Laney's XLR output have a option for line or mic output level? If it can be set to "line" level then it should work... but if it's just a standard DI output with no option for line level output, then I don't think it would have enough level to drive the P1. The P1 might make sound, but be very weak in level unless the signal feeding it is line level (like it would be out of a mixing console for example).
@@AlanHamiltonAudio It has 2 outputs: XLR-DI and TRS Line Out, but it does not have to regulate the output level. This is the promotional video of the amplifier, at minute 2:12 you can see the 2 outputs it has. th-cam.com/video/CdAIX09FG1w/w-d-xo.html
The line output should work fine then for the P1. You can regulate the volume you hear at the P1 pack. You'd just need a TRS to XLR adapter to connect to the P1.
Thanks Alan. Can you better explain the mono-stereo difference? I use my XR18 for both live and recording and at the moment I use the headphones output but have problems in controlling the volume. So a solution could be to use the BUS output but I need stereo. Thanks ciao
The P1 has 2 XLR inputs for stereo signals. The XR18 has mono XLR outs, but they can be linked for stereo outputs (1 and 2), (2 and 3), (3 and 4), and (5 and 6) can all be linked for stereo outs (the odd number must always be first... IOW you can't link 2 to 3 or 4 to 5. So any pair can be linked, as long as the first output is an odd numbered output. You'll then have the ability to balance things to match the soundfield onstage, or however you want. You don't have to use the same stereo field as the mains, if you don't want.
@@AlanHamiltonAudio Thank you. Good to know, unfortunately I'd need to send the stereo output of the whole channels mix. I'll manage with mono anyway. Ciao
Do you mean if you just plug your guitar into the beltpack? It would be hyper-clean if done that way. If you mean monitoring your guitar amp through it, or a guitar modeler, it would work well.
Bought this with some good quality in-ear headphones. It was a waste of time/money as there was barely enough volume to rear over the venue conversation level... let alone the volume of the band. The saying: 'You get what you pay for' doesn't apply here. You don't get anything you've paid for. Useless!
Either you got a bad unit, weren't sending it enough level, or had a cable issue because lack of output isn't a normal problem at all. Or bought the sister unit to the P1 (which the PM1 isn't for direct connection to a console like the P1). The P1's (as in the video) are plenty loud. Loud enough for a drummer to wear even. Unless you're talking about the Behringer PM1. Then your problem with it would make sense. The PM1 is a beltpack with level control meant to be connected to a headphone amplifier, not directly to an aux out. It will have very little output if connected to an Aux out. The unit in the video is a P1 (not PM1). The P1 is a headphone amplifier in a beltpack and is made to connect directly to a mixer's aux outs/mon outs....
Hello Do you know whether the mix engineer can still control the IEM even if it's going through ultranet to a BEHRINGER Powerplay P16? I find the panning options on the P16 somewhat limited.
Technically, the mix engineer normally wouldn't be able to, but they could do things that would impact it. Changing channel gains for example. But that would impact all monitors.
@@Jinaci1732 The P16's have the channel count limitation of 16 inputs. So, for example, if you're using over 16 channels at the console, then you have to bus some things to the P16. Like say bus the drums together and send that complete mix to the P16 on one input. Or if there are multiple keyboards, maybe those need submixed to make the input count fit on the P16. None of those are deal breakers... and there's something to be said about having a tactile surface to work off of. But, I'd rather use the app where I have no limitations on the mix I am getting. If I want kick, snare, and nothing else from the drums, then it's not an issue. Nobody has to figure out a compromise. For the most part, you're going to set the mix and rarely touch it. And if you do touch it, it's probably a quick adjustment and back to the performance. So, between the app or the P16, I prefer the app myself. But I don't hate the P16. And it would really depend on the channel count. If the channel count is only 10-12 channels that easily all fit on the P16, then that would quickly negate the one drawback that would concern me and create compromises. In that case, it's just 6 of one and a half dozen of the other. It would depend on how badly someone hates mixing on an app. And much of that dissipates with experience and confidence doing it.
@@AlanHamiltonAudio and with an app, the mix engineer can help out... Thanks a lot for the infos. Just discovered your channel, maybe it has been less than one month. But I can get information both from videos and on comments. Thanks!
Yes, the two inputs can be blended. The quick answer is you put it in mono mode and then use the L-R knob to balance how much of the click you want against the rest of your mix. Everything coming thru both ears. And the level control to adjust the overall level of the pack.
Thanks, it works but not 100% :( The signal of the iPad (metronome sound) is very low in volume. So there is something inside the powerplay that lowers the signal/volume because when I put my headphones directly into the iPad the volume works as it should do. I have the right cables as far as I know (mini jack to xlr) so that can not cause the problem. Any suggestions?
For anyone looking to get into IEMs, the Behringer P1 and KZ ZS10 Pro earbuds are a great way to give it a proper go and not spend a lot of money. A real bang for the buck combination. At least for anyone that doesn't need wireless, since the P1 is a wired beltpack (needs an XLR cable to feed it from your mixing console) (AKA "hardwired").
Amazon Affiliate Links:
KZ ZS10 Pro earpieces-
amzn.to/37Q8mnJ
Behringer Powerplay P1 Personal In-ear Monitor Amplifier-
amzn.to/3bNZiRu
----
Videos:
5 Tips For Better Live Vocal Mixes:
th-cam.com/video/oP4sdpkkNhY/w-d-xo.html
Connecting a Behringer XR18 To Reaper:
th-cam.com/video/xYmJGyroVe0/w-d-xo.html
Connecting a Behringer XR18 To OBS For Live Streaming:
th-cam.com/video/aNlBOOhWbZw/w-d-xo.html
Five Mistakes Made By Behringer X32 Users:
th-cam.com/video/tP7dO2Za6bw/w-d-xo.html
Audio Compression Basics:
th-cam.com/video/1hyIQqw0fUg/w-d-xo.html
KZ in-ear monitors absolutely rock, I'd put them up there with products priced three or four times as much.
For anybody who doesn't want their IEM sound coloured by the monitor itself though, I'd highly recommend looking at the AS10s. I'm a bassist who uses them in my band, as do some of the other musicians, and they're unbeatable. They've got a pretty even and flat response, aren't artificially voiced to boost low end or anything like that, are easily driven and are very loud, so you have plenty of headroom. The separation of the instruments is also fantastic as well, I liked them so much I went back after I bought my first pair and bought another two!!
I use the AS10s with a Powerplay P1 in my band, and in my opinion you will seriously struggle to find a better budget IEM set up that costs less, and works better.
Hi Alan, can I just feed the P1 with aux1 from XR18 and hear it in both ears ?
Yes. You can get a mono signal to show up in both ears.
@@AlanHamiltonAudio perfect.. Thanks
Ty! Perfect amount of detail 😂
I play drums in a hard rock cover band and put this system together about a year and a half ago and used them for several gigs before covid shut us down. It was a total game changer. We use an xr18 for our live pa rig and this exact setup was easily the best thing that ever happened to my live gear. My playing improved dramatically as I was no longer chasing volume and loosing all dynamics in the process. My in ear mix is mostly the bass guitar, my bass drum, vocals, and a little bit of everything else. Because of this customization, I was able to really lock in with the bass and we were able to provide a great rhythm foundation for the rest of group. I even played around with a click in the other channel. I am getting better at using it and was planning to use the click when playing out but . . . well covid. If you are thinking about moving to the world of in ears, this setup will work great. As they said, the only negative is mobility but for me, I get to sit all night so . . . let the singers and guitarists break the bank on wireless systems. Thanks for the video and all the others as well Alan.
Great real-world info! ...And I know all about the shutdown stuff... :(
With a little research, musicians really have some solid budget options these days if they research first and spend second.
For playback of tracks during practice, could I plug my iPhone into the P1 or P2 via XLR to 3.5mm (with the lightning adapter too of course haha)?
I'd think you definitely could with the P1 and get good results. Technically, I think the P2 should work too BUT you might like the input mixing options on the P1 as you go forward.
Thank you
You're welcome
I am trying to decide between the behringer P1 and P2. I am using the mee audio m6 pro. P1 seems a bit quieter than the P2. However the two inputs are great. Is it loud enough? I guess it is.
Just use proper gain structure in your signal chain. The P1 is plenty loud. At least it is with decent earbuds or headphones.
Finally! A demo that actually explains how to use an in ear system! Thank you
Glad it was helpful! Thanks!
@@AlanHamiltonAudio You are very welcome. I hope you don’t mind me asking but I recently tried IEMs for the first time and my guitar tone- and my overdriven tone in particular- sounded absolutely horrible. It was the proverbial ‘wasp in a jar’ distorted tone. Do you have any tips for EQ’ing your guitar signal prior to send it to the IEM’s, please? Admittedly, on this occasion I am describing the guy doing the sound was the drummer and his wife was the lead vocalist, I suspect that he focused on getting her a good sound in her in ears and didn’t bother with the rest of us. As it was my first experience using IEMs I was a bit shocked and disappointed at how bad my guitar sounded. If you can offer any help I’d be very grateful, thank you.
@@TimGuitarcouk What kind of earbuds were you using? Good/bad earbuds can make or break tones. Also that includes improper fitting earbuds. There are huge differences between earbuds, and what works 'ok' for an MP3 might really fall on their face as in ear monitor earpieces.
One reason is the driver(s) just not holding up to a full, live, highly dynamic mix. The other is the stage volume and the earpieces not able to block out ambient sound.
Obviously some people go to the trouble of getting molds for a perfect fit. But others buy different tips to try on their earbuds to find the most comfortable and best fit and seal. Different sizes, different builds. Some have silicone tips. Some have a foamy tip that you squeeze, put them in, and they expand to create a seal. I know the KZ earpieces work well for not a lot of money, and I buy a package of foamy tips to go with them for myself. They sell a 3 pack of small-med-large so you can check the best fit.
When the earpieces seal, and you have more control of what is intentionally going to your ears, you instantly notice a fuller, fatter sound.
So, that is one reason something that falls so much into the midrange area like guitar could sound bad in IEMs. And if the guitar is what you're focusing on, then that might be the place you really notice it, and/or care.
But that's not the only place someone can fall into a trap and have problems... Over-EQ...
IF the monitor sends are tapped post-EQ on the channel, and the person mixing FOH has went crazy twisting and dialing on the EQ of a channel, they could've dialed it in for FOH, and dialed it in for any FOH deficiencies, or just did a poor EQ job in general, and the musician gets that poor EQ job directly into the ears.
And anything you do to try and fix it on your amp or pedal/processor, or mic placement, they will counter trying to get back to that sound they had initially in the house (that they apparently liked). One possible and potential solution here is just to tap the guitar channel monitor send pre-fader at the pre-EQ point. I'm talking on the channel, not the outputs.
That way, you get your guitar sound as it's sent to the system, and before the FOH tech starts tweaking on the EQ.
And that leads us to another point that could be taking place... Good sounding and fitting earbuds should need little to no bus EQ on the monitor outputs. Generally a HPF in the 20-40Hz range... maybe 60Hz... and maybe a LPF at 15K, 16K... and nothing else... Would be perfectly fine. Is it possible there's a small overall tweak you might like for your mix? Yes... But it should be small. Not major cuts or boosts. And not several of them either. If something like that is going on, it could all be adding up to countering what might even be GOOD EQ on the channel strip. Or making poor channel EQ even worse.
And then finally, something else to consider, especially with a 'no amp' stage (or no mic'ed amp) and direct guitar sound from a pod/box into the system- If the musician sets that up at home on tiny speakers or headphones, instead of live boxes, or on small boxes, it's possible the sound they dialed in could be doing things counter to what works when it goes thru a full PA. Which could mean it doesn't sound good in the PA and forces the tech to hit the EQ... Of course, (especially for a band where everyone works together regularly) they probably should discuss it with the player before making EQ changes: "I'm getting a TON of low end from your guitar". Then let the guitar player adjust first and foremost to that flat signal in the PA.
Meanwhile, if the tech isn't experienced, or just goes to work on the EQ strip without even discussing what FOH is hearing to begin with on guitar... they're going to dial in a really thin guitar sound to compensate for the extra bassy signal they were getting. And if the PA was already balanced and skewed toward a low end dominant FOH setting, then it just magnifies what was coming into the board even more. So they will potentially HPF higher, cut lows, low mids, mid scoop, etc to get it to sound 'workable' in FOH. And if you have a post-EQ guitar channel monitor send... all of that EQ work is going to your ears. Yet it was done to fix the sound in the house, not what you're hearing in your ears.
Maybe you don't even have a chance to hear it sounding overly fat because by the time the monitor feed is turned on for your IEMs, the guitar channel EQ has already been dialed in.
And really, every one of those problems, or any number of them could be happening. So there might not be one fix.
But it's probably easiest to listen to a CD/MP3/WAV player in the PA and make sure the PA sounds good itself. Then play your guitar WITHOUT any EQ on the channel thru the PA and see what it sounds like. See what you're actually sending the PA. Maybe tweak the guitar sound at the stage if it doesn't sound good in the house versus trying to fix it with channel strip EQ.
Flatten any bus EQ on your IEM output. Listen to your ears and see if your guitar sound comes back to life.
Finally, consider whether you like a pre-EQ channel monitor send on your guitar versus what the FOH tech does to your guitar sound.
And all of this still relies on having good sounding earbuds WITH a good fit/seal.
I know something like the Phenyx Pro IEM system, budget that it is, doesn't sound good with the earbuds that ship with it. But performs solidly with a good set of earbuds. Something like the Senn G4's ship with good earbuds to begin with.
That doesn't mean you might not like something else better than one set of ears over the other, but it does mean your starting point matters. Asa does the fit.
I suspect the problem lies somewhere in those things... and like I said... maybe at multiple points. Your guitar sound could be a victim of a multitude of small cuts and scrapes versus just one big 'injury'. Mistakes are cumulative. One small mistake or issue might be tolerable... several of them, not so much.
Hello there. If I plug this in my Direct Out drom my AMP… will I hear it in stereo in my headset? God bless, thank you!
I love mine, although the click track is always too low. I don't know why. Any though people? Please.
Something like that is almost always a gain structure issue. Either not enough gain on the click in the first place, and/or too much gain everywhere else. Also, possible there's compression (or too much compression) on the mix bus (or possibly the click itself) and with it being the loudest thing in the bus it's triggering the compression and burying things. That would affect everything on the bus, but if the click was the trigger by being the loudest thing, it could mask that it's hurting everything since it's the click being focused on.
The KZ AS 10’s are even better for sound quality.
+1 right here, Gary; I've found the AS10s to be pretty flat and not with a boosted low end or anything, and they're really loud so there's plenty of headroom there. To be honest, after having tried numerous KZ products (because they're so cheap, why wouldn't you?), I settled with the AS10s and bought three pairs of them, just to make sure I always had them. They're that good.
For the mic stand attachment, how do you remove the 3/8" thread adapter in order to access the 5/8" hole? I tried a tool to unscrew it but it won't budge!
I used a quarter. Fits the notches perfectly. But mine wasn't so tight I couldn't turn it by hand. I suppose a quarter and some pliers, or Vise Grips or Channel Locks for leverage might work. It's normally threaded so "righty-tighty and lefty loosey". No special tricks involved with reverse threading or anything.
IEM's will save your ears and keep your vocal pitch in check. I am using KZ ear buds also. The Buds are very important. Thanks Alan.
That's right!
Few people, once they hear a proper IEM mix, with good earbuds (or headphones) with a good seal (so they aren't still hearing (and competing with) unwanted stage wash), don't instantly become converts to IEMs.
But I do know some people that didn't give IEMs a fair chance because they tried to use cheap earpieces that weren't right for the job, and/or had wonky mixes and things going on like in the "5 Mistakes" videos. So they got snakebit and are afraid to try again.
I think they are getting so commonplace these days that people are a little more open to trying them again though... realizing their early experience couldn't have been the norm or they wouldn't be so popular.
The KZ ZS10 pros are amazing!! I have used this Behringer p1 and the p2 and they work well!
Definitely a real bargain for earpieces.
Is there any advantage to using the P1 instead of the P2 other than stereo?
@@HumVDoctor1 I've not tried the P2's because I like the option of having two balanced XLR inputs for stereo. For mono operation, assuming all else is equal (same output circuitry hopefully) then the P2 would be an option. And for stereo, for short runs, it could still be an option with the proper adapters. But for long cable runs, I would only feel safe (and noise free) running it mono with a balanced cable (XLR mic line). Meanwhile the P1 doesn't have that limitation (for stereo).
The P1 also has an option to power it from the wall with a wall wart. I don't think the P2 has that, but for a beltpack that isn't much of a dealbreaker for me. ...But for anyone in a situation where the beltpack isn't going to move, that would be losing a cost-saving option.
But, for mono, and batteries... with the caveat I've not tried one... I'd think it would be fine.
@@AlanHamiltonAudio thank you very much. I’m the worship leader of a 5 person worship team & tomorrow we will be using IEM’s for the first time ever. We will also be using the XR18 for the first time. You’re videos have been a big help to me for getting it all set up. We had rehearsal tonight and we loved it!
@@HumVDoctor1 Very cool! Thanks! Glad I could help!
Great informative video. Also, the drummer in this video looks somewhat familiar.
Thanks! Yes, very familiar! You've probably seen him around. :)
Alan, I use this unit for personal monitor on a X18 using Bus 6. The Powerplay P1 has a limiter built in I think. One of the singers wants to use an Xvive U4 wireless IEM unit which does not have built in limiter. Is there a plugin limiter that can be applied to the Aux sends to protect that channel from sudden volume increase?
The aux send output itself has a built in compressor, just like the channels, that will go all the way up to 100:1 so that aux out compressor could easily do limiting without adding anything.
@@AlanHamiltonAudio Thanks Alan for this. Gives us some more IEM options.
Hi, I'm from Chile. I have a question: I have the Laney A1 Plus acoustic amplifier that has an XLR-DI output. Can you connect that amp output to the Behringer P1 for personal feedback?
This is apart from the sound that the amplifier's speaker emits itself.
Does the Laney's XLR output have a option for line or mic output level? If it can be set to "line" level then it should work... but if it's just a standard DI output with no option for line level output, then I don't think it would have enough level to drive the P1.
The P1 might make sound, but be very weak in level unless the signal feeding it is line level (like it would be out of a mixing console for example).
@@AlanHamiltonAudio It has 2 outputs: XLR-DI and TRS Line Out, but it does not have to regulate the output level. This is the promotional video of the amplifier, at minute 2:12 you can see the 2 outputs it has. th-cam.com/video/CdAIX09FG1w/w-d-xo.html
The line output should work fine then for the P1. You can regulate the volume you hear at the P1 pack.
You'd just need a TRS to XLR adapter to connect to the P1.
Thanks Alan. Can you better explain the mono-stereo difference? I use my XR18 for both live and recording and at the moment I use the headphones output but have problems in controlling the volume. So a solution could be to use the BUS output but I need stereo. Thanks ciao
The P1 has 2 XLR inputs for stereo signals. The XR18 has mono XLR outs, but they can be linked for stereo outputs (1 and 2), (2 and 3), (3 and 4), and (5 and 6) can all be linked for stereo outs (the odd number must always be first... IOW you can't link 2 to 3 or 4 to 5.
So any pair can be linked, as long as the first output is an odd numbered output.
You'll then have the ability to balance things to match the soundfield onstage, or however you want. You don't have to use the same stereo field as the mains, if you don't want.
@@AlanHamiltonAudio Thank you. Good to know, unfortunately I'd need to send the stereo output of the whole channels mix. I'll manage with mono anyway. Ciao
@@AlanHamiltonAudio Thank You!!
How does it sound when using it for electric guitar?
Do you mean if you just plug your guitar into the beltpack? It would be hyper-clean if done that way. If you mean monitoring your guitar amp through it, or a guitar modeler, it would work well.
Bought this with some good quality in-ear headphones. It was a waste of time/money as there was barely enough volume to rear over the venue conversation level... let alone the volume of the band. The saying: 'You get what you pay for' doesn't apply here. You don't get anything you've paid for. Useless!
Either you got a bad unit, weren't sending it enough level, or had a cable issue because lack of output isn't a normal problem at all. Or bought the sister unit to the P1 (which the PM1 isn't for direct connection to a console like the P1). The P1's (as in the video) are plenty loud. Loud enough for a drummer to wear even.
Unless you're talking about the Behringer PM1. Then your problem with it would make sense. The PM1 is a beltpack with level control meant to be connected to a headphone amplifier, not directly to an aux out. It will have very little output if connected to an Aux out.
The unit in the video is a P1 (not PM1). The P1 is a headphone amplifier in a beltpack and is made to connect directly to a mixer's aux outs/mon outs....
Hello
Do you know whether the mix engineer can still control the IEM even if it's going through ultranet to a BEHRINGER Powerplay P16?
I find the panning options on the P16 somewhat limited.
Technically, the mix engineer normally wouldn't be able to, but they could do things that would impact it. Changing channel gains for example. But that would impact all monitors.
@@AlanHamiltonAudio thanks
@@AlanHamiltonAudio Do you mind sharing ur views on "P16 vs Use my mobile phone app to control my mix (which wud require headphone amps)?
@@Jinaci1732 The P16's have the channel count limitation of 16 inputs. So, for example, if you're using over 16 channels at the console, then you have to bus some things to the P16. Like say bus the drums together and send that complete mix to the P16 on one input. Or if there are multiple keyboards, maybe those need submixed to make the input count fit on the P16.
None of those are deal breakers... and there's something to be said about having a tactile surface to work off of.
But, I'd rather use the app where I have no limitations on the mix I am getting. If I want kick, snare, and nothing else from the drums, then it's not an issue. Nobody has to figure out a compromise.
For the most part, you're going to set the mix and rarely touch it. And if you do touch it, it's probably a quick adjustment and back to the performance.
So, between the app or the P16, I prefer the app myself.
But I don't hate the P16.
And it would really depend on the channel count. If the channel count is only 10-12 channels that easily all fit on the P16, then that would quickly negate the one drawback that would concern me and create compromises. In that case, it's just 6 of one and a half dozen of the other. It would depend on how badly someone hates mixing on an app. And much of that dissipates with experience and confidence doing it.
@@AlanHamiltonAudio and with an app, the mix engineer can help out...
Thanks a lot for the infos. Just discovered your channel, maybe it has been less than one month. But I can get information both from videos and on comments.
Thanks!
Can i use dis in bass guitar
Is there anyway to connect a p1 to an irig?
Thoughts on ha8000 v2?
I've not had a chance to use one, but I can't imagine it not doing a good job if a rackmount unit fits the bill. And it's not got a bad price.
Can you put a click in channel 2 in a way that you hear the band and click both left en right?
Yes, the two inputs can be blended. The quick answer is you put it in mono mode and then use the L-R knob to balance how much of the click you want against the rest of your mix. Everything coming thru both ears. And the level control to adjust the overall level of the pack.
Thanks, it works but not 100% :( The signal of the iPad (metronome sound) is very low in volume. So there is something inside the powerplay that lowers the signal/volume because when I put my headphones directly into the iPad the volume works as it should do. I have the right cables as far as I know (mini jack to xlr) so that can not cause the problem. Any suggestions?