The IOS apps work as control for the AUX mixes. The Aux mixes are what you will use for monitor mixes, so regardless of the monitoring solution, it won't affect the IOS apps. Even in an environment with multiple transmitters, or single transmitters, the IEM will take its signal from the Aux out.

As far as what you need, I can't really recommend any hardware, as I don't use IEM's, but plenty here do. I will say that for a 5 piece band, you will have some decisions to make. If you want stereo in ears, you only have the auxes for 4 separate monitor mixes. Someone will be sharing a mix. Or you would have 5 mono mixes if everyone needs their own. Just something to keep in mind when sourcing out your IEM hardware.

Good luck.

One way to save money is to run mono mixes and use the pan function (L/R) on the ear transmitters effectively buying you two mixes out of one unit. However, nothing is ultimately "free" and you will need to decide if this will work for you. Some don't like mono mixes and others are just fine with it. Also, it can make troubleshooting more difficult and the operation can be confusing to some because there is more to go wrong when buttons and knobs get accidentally pushed and turned.

However, with the RM16 you will need to run at least two mono mixes anyway since you are limited by the 8 auxes/subs (up to 3 stereo and 2 mono mixes) if you need 5 ear mixes. So you can accomplish that by running a dedicated unit in mono or run a unit stereo and pan mixes as stated above. Also realize that this leaves virtually no room for sub groups either (if those are important to you).

Personally, I get concerned when my initial configuration/plan maxes out the solution. Things always change and leaving yourself no breathing room can make you wish you would of stepped up. Whatever way you go, the iOS app will run just fine for whatever configuration you decide to go with.

You still can use mixes 9 to 16 as subgroups...

And make absolutely sure that all 5 band members must have wireless IEMs. You'll save a nice penny now and on batteries later for every one of them (drums, keys, ...) who can be on wired IEMs instead. And there are also solutions where wired IEM is combined with a guitar tether. Just saying...

With wireless IEMs all systems I know are one transmitter for every receiver or maybe two receivers. Yes, expensive.

Thanks for the speedy responses!

matthewgorman wroteIf you want stereo in ears, you only have the auxes for 4 separate monitor mixes. Someone will be sharing a mix. Or you would have 5 mono mixes if everyone needs their own. Just something to keep in mind when sourcing out your IEM hardware.

I hadn't thought of that. I guess mono mixes would do, but I'd rather spend once, you know? So in that sense, maybe the RM32Ai would make more sense.

bubbaguth wrotePersonally, I get concerned when my initial configuration/plan maxes out the solution. Things always change and leaving yourself no breathing room can make you wish you would of stepped up.

Yes, exactly that. I was considering only the input channels when I looked at the RM16Ai, but was thinking about the 32 so I could make myself available to run sound for other shows and recoup some expenses. This monitoring issue is another reason to go for the bigger model.

SwitchBack wroteAnd make absolutely sure that all 5 band members must have wireless IEMs. You'll save a nice penny now and on batteries later for every one of them (drums, keys, ...) who can be on wired IEMs instead. And there are also solutions where wired IEM is combined with a guitar tether. Just saying...

With wireless IEMs all systems I know are one transmitter for every receiver or maybe two receivers. Yes, expensive.

Actually, now that you mention it, wireless isn't really a requirement for any of us. I suppose I'd need more cabling for a wired system to run from the mixer to headphone amps for each musician, but it would still a lot less than even four wireless transmitters and body packs. That would give me a bit more of a budget to allow me to expand from the 16Ai to the 32. I wouldn't need a heaphone mixer, right, because the iOS app would let musicians do personal mixes?

You mentioned a solution where wired IEMs combine with guitar tethers - have you any suggestions of such a thing? That could be interesting!

I also need to consider what to put the thing in. The beauty of the 16ai was that I could put it in a 4U Gator case with a laptop slot on the top and have 1U spare for a power conditioner. Oh well, I guess there will be other solutions out there!

You still can use mixes 9 to 16 as subgroups...

Interesting- didn't know that

camscampbell wroteActually, now that you mention it, wireless isn't really a requirement for any of us. I suppose I'd need more cabling for a wired system to run from the mixer to headphone amps for each musician, but it would still a lot less than even four wireless transmitters and body packs. That would give me a bit more of a budget to allow me to expand from the 16Ai to the 32. I wouldn't need a heaphone mixer, right, because the iOS app would let musicians do personal mixes?

You mentioned a solution where wired IEMs combine with guitar tethers - have you any suggestions of such a thing? That could be interesting!

I also need to consider what to put the thing in. The beauty of the 16ai was that I could put it in a 4U Gator case with a laptop slot on the top and have 1U spare for a power conditioner. Oh well, I guess there will be other solutions out there!

You still need a headphone amp for every IEM. Some ear buds sort of work straight from the aux outputs but I wouldn't recommend it. The HP60 is a neat rackable solution. And you can wire it up from the back (from the RM16's DB25 connector) for a clean rack.

For a combined tether here's an example (first Google hit I got). You can feed the buds straight from the connector or thru a passive belt volume control (again, first hit) for close at hand level control. 'Wheel of Me' is nice but in the midst of things the trim on the belt is quicker.

These little guys are pretty bad a$$.

http://www.presonus.com/products/HP2

matthewgorman wroteThese little guys are pretty bad a$$.

http://www.presonus.com/products/HP2

I'm not a big fan of that small mini-xlr that can easily break. Since this mini-xlr to xlr breakout cable isn't a common item you need to make sure that you buy a couple of spares.

Btw, I'm unable to find replacement breakout cables from the retailers...?

I don't like the need of batteries or external power supply for beltpacks like the PreSonus HP2. As SwitchBack wrote, the combination of passive belt volume controllers in connection with a 19" headphone amplifier is much easier to handle and it also needs less cables (only one cable per belt pack instead of two). I use "Fischer Amps Mini Body Packs" (http://fischer-amps.de/en/in-ear-monitoring/mini-body-pack-xlr-oder-klinken-eingang/browse/1/artikel/ab-sofort-lieferbar/17.html) with jack connector (the XLR is mono). The only thing to consider is that the jack of the cable plugged in MUST be Neutrik. Only Neutrik to Neutrik guarantees a solid connection. If the cable is long enough, the musicians/singers can literally run across the stage and the audio connection is not interupted or disturbed. The Fischer Amps belt packs are rock solid professional equipment!

Actually I am using long & cheap chinese cables with the stereo jacks on the beltpack side replaced by a Neutrik jack. This works perfect. It's a "set & forget" thing. By the way: the weight of the HP2 is 450 gram, the Fischer Amps belt pack is 85 gram. Musicians and singers like the lighter weight and the smaller size...!

AFAIK the Fisher XLR packs are stereo too. Advantage is that you can use standard XLR cables with them (provided they are decent quality). I'm always trying too keep the adapter box shut

wahlerstudios wroteI don't like the need of batteries or external power supply for beltpacks like the PreSonus HP2. As SwitchBack wrote, the combination of passive belt volume controllers in connection with a 19" headphone amplifier is much easier to handle and it also needs less cables (only one cable per belt pack instead of two). I use "Fischer Amps Mini Body Packs" (http://fischer-amps.de/en/in-ear-monitoring/mini-body-pack-xlr-oder-klinken-eingang/browse/1/artikel/ab-sofort-lieferbar/17.html) with jack connector (the XLR is mono). The only thing to consider is that the jack of the cable plugged in MUST be Neutrik. Only Neutrik to Neutrik guarantees a solid connection. If the cable is long enough, the musicians/singers can literally run across the stage and the audio connection is not interupted or disturbed. The Fischer Amps belt packs are rock solid professional equipment!

Actually I am using long & cheap chinese cables with the stereo jacks on the beltpack side replaced by a Neutrik jack. This works perfect. It's a "set & forget" thing. By the way: the weight of the HP2 is 450 gram, the Fischer Amps belt pack is 85 gram. Musicians and singers like the lighter weight and the smaller size...!

Those Fischer amps look neat. I'll definitely look into that. Thank you.

camscampbell wroteThose Fischer amps look neat. I'll definitely look into that. Thank you.

Just to make sure: the belt packs are not headphone amps. They're merely attenuators. You still need headphone amps (in your rack).

there is a way to get 5 stereo auxes out of the RM16: simply assign the headphone out to, lets say, 9/10, that works great! so it is not needed to waste any of the eight AUX outputs and get an additional stereo Out.

Friedhelm wrotethere is a way to get 5 stereo auxes out of the RM16: simply assign the headphone out to, lets say, 9/10, that works great! so it is not needed to waste any of the eight AUX outputs and get an additional stereo Out.

how would you go about routing the headphones to 9/10?