Nord User Forum

Winds wrote:

FZiegler wrote:If you use an IEM amp, you may benefit from a dual-channel solution. Which can be used for stereo monitoring or (sometimes) easy mixing of two sources (the balance knob then serves for the mix mode). And you need to decide whether you want a wireless solution or not.

The cheapest solution is probably the Behringer Powerplay P2 (a sort of 'clone' of the Fischer Amps InEar Stick). More expensive are the cordless systems.

I think I'd just go with wired instead, because scared of possible wireless interferences

Let's say for example I only get the behringer or rolls without a mixer and only relying on an aux mix (vocals/other instruments) from the foh.. how would the circuit flow where I can still play around with the levels of my NS3 and the level of the aux mix?

I imagine with the rolls I assume my ns3 will directly go to foh then back to my rolls monitor input, and then the aux mix cud go in the rolls via the xlr mic in, then I could play around with the levels using the knobs. Does this sound correct cuz I've never actually played around with this kind of setup so trying to understand abstractly.

I'm not so sure about the circuit flow if say the behringer tho..

I use a wired iem headphone amp and a decent pair of earphones that are designed to let some stage sound through to your ears. I recently switched from a Rolls PM50 headphone amp - similar to the one you saw a B&H Photo - to the Behringer P2 and it works great for me.

The signal flow is from my Nord to a stereo stage monitor and then from the stage amp's direct output to the FoH mixer. For my Hammond, the flow is from the organ to it's Leslie, and from the Leslie's microphones to the FoH mixer. I control my personal monitor mix from the FoH mixer, using an iPhone app, and my monitor signal flows from one of the FoH aux outputs to my headphone amp. This arrangement lets me hear my keyboards from the stage amps - especially the Leslie - and, if they are overpowered by the rest of the band's stage equipment, I can boost their volume in my ears using the FoH monitor mix controls. Of course those same controls let me add the needed volume from any of the other FoH channel I want to hear in my monitor mix. I can do all this because the FoH mixer is a Behringer XR18 which has the necessary features to make that work.

Previously, when my band had a less capable FoH mixer, I would run all my keyboards through my Mackie 1202 mixer first, then send a mono or stereo keyboard output from the Mackie to the FoH mixer. The FoH mixer had only two aux outputs for monitors, so we'd set up one for the vocalists and one for instrumentalists. I'd pick one of those and send it to my Mackie, configured to let me mix the FoH monitor signal with my keyboards at the level I needed and send that to the headphone bus. I used the Mackie's headphone output to drive my IEM earphones.

The previous arrangement was pretty complicated, but it worked fine. I like the new arrangement with the Behringer equipment better.

wtibbit wrote:I use a wired iem headphone amp and a decent pair of earphones that are designed to let some stage sound through to your ears. I recently switched from a Rolls PM50 headphone amp - similar to the one you saw a B&H Photo - to the Behringer P2 and it works great for me.

The signal flow is from my Nord to a stereo stage monitor and then from the stage amp's direct output to the FoH mixer. For my Hammond, the flow is from the organ to it's Leslie, and from the Leslie's microphones to the FoH mixer. I control my personal monitor mix from the FoH mixer, using an iPhone app, and my monitor signal flows from one of the FoH aux outputs to my headphone amp. This arrangement lets me hear my keyboards from the stage amps - especially the Leslie - and, if they are overpowered by the rest of the band's stage equipment, I can boost their volume in my ears using the FoH monitor mix controls. Of course those same controls let me add the needed volume from any of the other FoH channel I want to hear in my monitor mix. I can do all this because the FoH mixer is a Behringer XR18 which has the necessary features to make that work.

I guess I kinda understand this setup.. but if you don't mind me asking, what headphone amp are you using? And I assume the stage monitor is for other people that are not using iems? Seems strange to me if you're gonna rely on stage monitors and if you're using iems? Also.. I guess the use of using a phone as a mixer via app seems intriguing, but you'll need an app which will be reliant on the mixer correct? In other words you'll need a mixer that has the functionality to connect to a mixer app. The P2 on the other hand I assume is mainly to connect "live" to minimise latency issues.. did I get this right?

wtibbit wrote:Previously, when my band had a less capable FoH mixer, I would run all my keyboards through my Mackie 1202 mixer first, then send a mono or stereo keyboard output from the Mackie to the FoH mixer. The FoH mixer had only two aux outputs for monitors, so we'd set up one for the vocalists and one for instrumentalists. I'd pick one of those and send it to my Mackie, configured to let me mix the FoH monitor signal with my keyboards at the level I needed and send that to the headphone bus. I used the Mackie's headphone output to drive my IEM earphones.

This one I think I understand more, but I think I still need to discuss with my usual sound guy whether a 1202 would be more suitable or an 802 would be enough

Winds, to answer your questions and comments...

I've used a Rolls PM-50 and I'm currently using a Behringer P2.

When I said "...stereo stage monitor" I was referring to the keyboard amplifier I have on stage for my Nord, rather than a monitor speaker driven by the PA. My keyboard amp is a Counterpoint Stereo Spacestation XL. We try to not use traditional "wedge" monitor speakers on the floor; their sound is always picked up by the vocal mics on stage and that muddies the overall sound in the FoH main speakers.

Because I have a Leslie for the organ and can usually heard it well on stage I feel more comfortable with a keyboard amp for the piano rather than completely depending on hearing the piano from the PA mixer. Also, the keyboard amp lets the other band members hear the piano at about the same volume level as the organ's Leslie, if they don't want my instruments in their monitor mix from the PA. Having a lot of sound power on stage from the keyboard amp and Leslie and all the guitarists having guitar amps on stage, in a small venue we can play with only the vocals in the FoH. But, by having all the instruments mic'ed or sent directly to the FoH mixer, any band member can configure their personal monitor mix to include as much of any instrument or vocals they want to hear.

The iPhone app is just serving as a control surface for our FoH mixer. Take a look at the Behringer Xair mixers' specifications and features; they are typical of mixers that are controlled by computers, tablets or phones. If your band has its own FoH system, or has a sound engineer with his or her own sound system, you can tailor your rig to work well with that particular FoH mixer and its particular features. Right now that is my situation; all of the projects I work with are using the same model Behringer Xair mixer.

The headphone amp does two things. It amplifies the signal from the mixer and it allows my to quickly adjust the earphone volume by just turning a knob. The P2 is more convenient that the Rolls because it can be worn on my belt, within easy reach, and is battery operated, eliminating the need an AC power source.

Latency issues might result from a bluetooth wireless monitor system, but any wired system or standard radio-type wireless IEM system will have no noticeable latency. I don't move around on stage so a wired system works well for me; it sounds better than any wireless system and costs a tiny fraction of the price of a pro-grade wireless system.

In the past I often encountered different sound systems at different venues and could never be certain what I would be dealing with. That is when I would bring a small keyboard mixer to the shows, knowing that I could always find a configuration that would let me send my keyboard signals to the FoH and also have some way to get a workable monitor mix in my ears.

Typically you need two mixers:
- one to mix all synths going to FOH
- one for in ear mix (including the FOH feed, mono or stereo Aux back)

Very few mixers can do this in stereo.
The samson SM10 can do this. but on a dark stage, you can not adjust this...
I do not want to bring a rack, then I do not know of a solution except very expensive. The RME UCX can do this, but still not so hands-on as my mixer (see below).


I need:
- 2x synths stereo
- iPad audio (left = click, right - backingtrack)
- stereo aux from FOH

to FOH (mixer 1):
- 2x synth
- iPad backingtrack mono to stereo
- separate click (mono) to FOH for distribution other band members
- optional with DI-out, but my snake to the FOH (MIDAS MR18 on stage) is 6m

to in-ear (mixer 2):
- FOH feed (typically set to 0 as my aux is the final FOH Mix, but could be an aux mix without keys)
- CLick mono to stereo
- AUX stereo

I build this with two cheap PCB mixers and made a casing with perfect fitting connectors on the right positions.
see: https://www.norduserforum.com/general-nord-forum-f29/nord-mixer-t20331.html
Finding a power-supply that does not hum was the biggest challenge

Eriknie wrote:Typically you need two mixers:
- one to mix all synths going to FOH
- one for in ear mix (including the FOH feed, mono or stereo Aux back)

Very few mixers can do this in stereo.
The samson SM10 can do this. but on a dark stage, you can not adjust this...
I do not want to bring a rack, then I do not know of a solution except very expensive. The RME UCX can do this, but still not so hands-on as my mixer (see below).


I need:
- 2x synths stereo
- iPad audio (left = click, right - backingtrack)
- stereo aux from FOH

to FOH (mixer 1):
- 2x synth
- iPad backingtrack mono to stereo
- separate click (mono) to FOH for distribution other band members
- optional with DI-out, but my snake to the FOH (MIDAS MR18 on stage) is 6m

to in-ear (mixer 2):
- FOH feed (typically set to 0 as my aux is the final FOH Mix, but could be an aux mix without keys)
- CLick mono to stereo
- AUX stereo

I build this with two cheap PCB mixers and made a casing with perfect fitting connectors on the right positions.
see: https://www.norduserforum.com/general-nord-forum-f29/nord-mixer-t20331.html
Finding a power-supply that does not hum was the biggest challenge

Do I still need 2 mixers if I'm only using one KB and no click tho?

Winds wrote:

Eriknie wrote:Typically you need two mixers:
- one to mix all synths going to FOH
- one for in ear mix (including the FOH feed, mono or stereo Aux back)

Very few mixers can do this in stereo.
The samson SM10 can do this. but on a dark stage, you can not adjust this...
I do not want to bring a rack, then I do not know of a solution except very expensive. The RME UCX can do this, but still not so hands-on as my mixer (see below).


I need:
- 2x synths stereo
- iPad audio (left = click, right - backingtrack)
- stereo aux from FOH

to FOH (mixer 1):
- 2x synth
- iPad backingtrack mono to stereo
- separate click (mono) to FOH for distribution other band members
- optional with DI-out, but my snake to the FOH (MIDAS MR18 on stage) is 6m

to in-ear (mixer 2):
- FOH feed (typically set to 0 as my aux is the final FOH Mix, but could be an aux mix without keys)
- CLick mono to stereo
- AUX stereo

I build this with two cheap PCB mixers and made a casing with perfect fitting connectors on the right positions.
see: https://www.norduserforum.com/general-nord-forum-f29/nord-mixer-t20331.html
Finding a power-supply that does not hum was the biggest challenge

Do I still need 2 mixers if I'm only using one KB and no click tho?

haha, than your single KB is your mixer 1.
Every situation is different, but on a simple setup like yours you can use the main out towards FOH and Headphone for local in-ear/monitor mix using a mixer that also add the Aux from the FOH desk.

I work with the QSC Touchmix 16, which I have next to me. There are two options for stereo aux. I work with IEM. Fantastic. In my duo I can operate it myself. I use the cue to hear the hall sound from time to time. So I monitor my own IEM mix and the sound in the room.
If I play in a 5 man band it is the same setup and then the drummer also uses a stereo aux because of a click he hears. In addition, there are 5 or 6 auxes on it, which are then used by the other band members. everyone can control their own sound in the monitoring. I don't bother with that then. Contact using Wi-Fi. (own network). If I use a sound engineer in the 5 man band, he controls the sound using an iPad. Also with the help of your own WiFi network with dongle or your own router.

hspeulman wrote: I use the cue to hear the hall sound from time to time.

Does that mean you have a mic connected to it? If yes what mic u using.. but I dont think it really matters what mic as long you can hear right?