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Stage & Studio: Musician’s In-Ear Monitors Buyer’s Guide

This Musician’s In-Ear Monitors Buyer’s Guide is designed to help musicians and engineers make more informed decisions about in-ear monitors and find the monitoring solution that will help them perform better. Our recommendations are based on listening to hundreds of in-ear monitors, including entire product lines from well-known manufacturers such as Shure and Westone, as well as and having discussions with countless musicians and engineers about in-ears. We selected only the best-performing products at every price point, based on current street prices. The first half of the guide offers some background information for educational purposes, so feel free to skip straight to the Recommendation sections using the links below.

Page 1

Benefits of in-ear monitors
Types of in-ear monitors
Considerations for using in-ears on stage
In-ear monitor qualities
Custom in-ear monitors, fit, and country of origin

Page 2

Sound signatures
Recommendations: Musicians
Recommendations: Mastering & Engineers
Additional in-ears worth a look


  • In-ear fit can effectively block out ambient noise, reducing exposure to damaging sound pressure levels
  • Audio performance of in-ears can be far superior to that of stage monitors
  • Reduced time for sound checks as room acoustics are not a factor
  • Each band member can have their own mix
  • Consistent sound regardless of stage position
  • Compact and easily transportable
  • Excellent personal listening experience when not on stage, with noise isolation

When it comes to stage use, the noise reduction properties of in-ear monitors are especially important to consider as repeated exposure to loud music will result in noise-induced hearing loss. Typically, hearing loss cannot be reversed, and by the time it becomes detectable, it is too late. Read more in this NBC News article on musicians and hearing loss.







Universal fit in-ear monitors (IEMs) Earphones that use foam or silicone eartips in various sizes to create a seal with the user’s ear canal. • Off-the-shelf purchase
• Lower cost
• Very large number of options
• Can be uncomfortable
• Relies on finding the right eartip size
• Eartips can come off and/or get lost
• Foam ear tips wear out and replacing them can become expensive over time
Custom fit in-ear monitors (CIEMs) Earphones that are custom-made and custom-fitted to the user’s ears. • Offers best sound quality
• Long-term comfort
• Highest noise isolation
• Most manufacturers offer artwork and other customization options
• Typical lead time is 1-4 weeks
• Requires ear impressions
• May require re-fits (see CIEM Fit section at bottom of page)
• Typically only made in the manufacturer’s country of origin
Customized ear tips for universal in-ear monitors Eartips that have been custom-fitted to the user’s ears and installed on universal in-ear monitors. • No need to rebuild/re-mold if earphone itself needs to be replaced
• Long-term comfort
• Don’t wear out
• Typically doesn’t improve sound quality
• Designed for one nozzle size (one type of custom eartip won’t fill all universal in-ears)
• Typical lead time is 1-4 weeks
• Requires ear impressions
• May require re-fits
Musician’s plugs Custom ear pieces that allow for the use of filters for noise attenuation or driver units for audio playback. • Flexibility to use drivers or filters
• Long-term comfort
• Offers varying levels of noise isolation, from low to very high
• Sound quality isn’t as high as custom in-ear monitors
• Typical lead time is 1-4 weeks
• Requires ear impressions
• May require re-fits


  • Your live mix will require some getting used to, as the sound of in-ears is presented in a different way compared to speakers. In-ears are more of a personal experience and the sound is coming from in and just around your head, depending on the earphone. Once your brain adjusts for the new presentation, chances are you will clearly hear things in your mix you didn’t hear before.
  • Many mixers have built-in EQs, but unless you are making cuts, boosting frequency sections can change the strengths of an in-ear, lead to distortion, and result in an unnatural sound. It is recommended to get monitors that perform as close to what you want as a starting point.
  • Wireless transmitters/receivers allow for freedom of movement on stage, which is great for singers, guitarists, and bassists.
  • Extension cables can provide sufficient freedom of movement for drummers and keyboardists.
  • Use of a hearing aid dryer between stage use and/or storing your in-ears in a water-tight case with desiccant will keep them performing at their best over extended periods of time as sweat and bodily fluids can block sound tubes and damage internal components.
  • Having a backup set of in-ears, or at least a replacement cable for detachable-cable in-ears, is great in case of an equipment failure.
  • Universal-fit in-ear monitors use ear tips that can get lost or wear out; therefore, having spares in the desired size is recommended.


  • Form factor: Most lower-cost in-ears use a cable-down wear style. In-ears designed for pro use typically use an over-the-ear design, which provides a more secure fit, keeps the cable out of the way, and is oftentimes more comfortable.
  • Isolation: Since in-ear monitors are inserted into the ear canal, they all block external noise, but many factors play into the amount of noise attenuation. Custom-fit IEMs isolate best, but there are still variations depending on ear anatomy, shell type, and shell fill. Universal-fit IEMs use ear tips to create the isolating seal between the earphone and ear canal, and different ear tips will offer varying levels of isolation, with foam usually providing the most.
  • Sound signature: Ideal sound characteristics are different for different instruments, and different still for sound engineers. See the Sound Signature section below as well as each detailed recommendation for more information.
  • Sound quality: The quality of sound is derived from the Attack, Decay, Sustain, & Release (ADSR). Accurate recreation of ADSR and capability to reproduce a wide range of notes results in more detail, recreating not only the main note but also the harmonics, room reflections, and even making audible the sounds of fingers on instruments such as a guitar or harp. The more accurate the ADSR, the more precisely soundstage proportions and stereo imaging will be recreated, and the more realistic the environment will sound. While some in-ears listed have high price tags, their performance is oftentimes also very high, making them an excellent music tool and providing a more natural and “live” experience.
  • Driver types: There are two main driver types for in-ear monitors: 1) dynamic drivers, which are like miniaturized conventional speaker drivers and can recreate the entire frequency spectrum; 2) balanced armatures (BAs), which were designed for hearing aids but adapted to in-ear monitors for their high efficiency and resolution. Different drivers offer different sonic characteristics. Balanced armature designs with multiple drivers are plentiful these days, using up to 12 drivers per channel in an attempt to offer the best performance in every frequency range. Hybrid designs use both dynamic and balanced armature drivers in combination, typically with a dynamic driver for the lows and a balanced armature setup for the mids/highs.
  • Durability: As with any earphone, the most common failure point is the cable, and a detachable cable allows for a relatively low-cost replacement if needed. Also, since in-ears are placed in the ear, sweat and ear wax can cause damage, either immediately or over time. Proper care, including using a hearing aid dryer and/or desiccant will extend the life of the in-ear monitors. We recommend avoiding permanent-cable monitors with built-in microphones/remotes, as the long-term durability is typically worse.
  • Specifications: Manufacturer-provided specifications for earphones don’t make much of a difference as there are no enforced standards for testing or reporting. This means that each manufacturer is free to use whichever method makes their product look best, making comparing the specs of different earphones worthless. Additionally, it is very difficult to gain insight into sound quality from the specifications.



As the name indicates, custom in-ear monitors are custom fitted to the owner’s ears. In order to do this, a pair of ear impressions must be taken and sent to the manufacturer, who then builds the custom-fit shells using negative molds of the impressions. This means there are additional costs on top of the custom in-ear monitor’s base price, both for getting the ear impressions taken and for shipping them to the manufacturer, as well as additional time necessary for the process. However, custom-fit earphones can offer better comfort, isolation, and sound quality. Some CIEM manufacturers have gone global and have offices or resellers in multiple countries to simplify shipping. Our recommendations attempt to provide options on multiple continents in every category.

Quality ear impressions are the first step in ensuring you get a proper fit when you finally receive your completed monitors. While some companies offer do-it-yourself impression kits, it is recommended to go with a professional audiologist for your first set of impressions (call a few local offices to find the best price). Impression depth is key but making sure the impressions are free from voids is also important, as is making sure your ears are in a healthy state, which is best done with a professional checkup. The goal is to get a perfect fit the first time.

Custom In-Ear Monitors Buying Process
Typical custom in-ear monitor buying process; process steps may vary by manufacturer. Purchase may be required when you place your order or when they receive your impressions.

Once the completed CIEM is delivered, it is important to make sure you have a proper fit as quickly as possible. Improper fit will lead to lower isolation and/or discomfort, plus the sound quality and sound signature can change considerably. For more information on how to check the fit once you receive your CIEM, read the CIEM fit guide. CIEM manufacturers realize there may be fit issues and offer free re-fits, usually within the first 30 days but sometimes longer (a re-fit consists of the manufacturer modifying or remaking the shell to improve fit). Most CIEM companies will work with you on all fit issues, but it is key to find the issues and inform the manufacturer early on.

Read on to page 2: Recommendations



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Having a life-long love of high-quality audio and gadgets, average_joe got back in touch with his audiophile side after a hiatus caused by life. His focus became headphones and related gear as the size and price fit his life better than home audio. He believes the entire audio chain is important, and likes to continue to think past the headphone and on into the head, as he believes understanding the details of how we hear will lead to a better audio experience.


60 Responses

  1. Hi Roger,

    Both UE and JH’s are good in their respective ways and have a very different sound signature compared with the Shure E5. You can’t go wrong with any of those choices, and if you are just going to use a monitor on stage, the 7pro should suffice; however the JH13, UE18 (both reviewed on THL), and JH16 will be a big step up for listening to music.

    If you do choose to go with the more expensive products, you will have a superior instrument that is more accurate. Based on what I know of the products (and not hearing the new models), the JH13 is most likely the most neutral of the options, which should serve you best.

    Hope that helps.


  2. AJ, I’ve determined to make the leap from wedges to CIEM. I’ve used Shure e5 in the past and was not that happy. I don’t want to just buy something I wont be happy with so I’m looking at the high end of the spectrum. I’m thinking of the UE 7pro or the UE18pro, alternatively I’ve read a bit about the Jerry Harvey’s – the 13v2 or 16v2.

    I play electric guitar but don’t sing. Do you have any thoughts about the UE’s or JH’s?


  3. Hi Mark,

    MA750 would be pretty poor for stage for a guitarist/vocalist, it’s a v-shaped sound and the bass can be a little intrusive. The SE215 is not as good from a sound quality standpoint for general listening, but at least the overall sound signature is more balanced with a more prominent midrange.

    I’d recommend the Se215 or spring for the Audio Technica IM02.


  4. I’m a guitar player and back up vocalist. The band is just getting into in-ear monitoring, and so each band member is in the process of acquiring their respective IEM earphones.

    I’ve seen some tremendous reviews of the RHA MA750, including a nice write up of these earphones on this site. But In this particular “MUSICIANS-CENTRIC” section, I’ve seen no mention of these headphones. Are the MA750s not geared towards on-stage musicians?

    I’m leaning towards either Shure SE215s, or the MA750s, but I’d love to have any additional perspective shared with me.

    Thank you! I really appreciate the resource represented by this site! OUTSTANDING!

  5. Hi Jennifer, there are CIEMs with ambient ports or active ambient that allows you to hear the outside. An ambient port offers some attenuation, while active ambient allows you to adjust the attenuation of outside sounds to your liking.

    Can you use a mixer to mix their vocals in with your and play them back through an in-ear, as that is my recommended solution? That way you can easily adjust the levels of your and their vocals and get the full sound isolation.

    Another option is to use something like the ProGuard Custom Fleximonitors with a filter that will reduce the ambient noise. There are filters that have different response curves, and you could get one that attenuates sound, except in the vocal range, which may work for you.


  6. I am a co lead vocalist who wants to be able to hear the other vocalist and harmonize but I suffer about 50% hearing loss. I am looking for an in ear monitor to block out the loudness but still be able to hear the other vocalist to harmonize. Is there and in ear monitor made that will allow this? Thank you

  7. Most musician’s monitors have some over-the-ear component to help keep the earphones in place. You can find some that are fairly unobtrusive – I think Westone is one of the best examples. Something like the W20 or UM PRO 30 would fit the bill nicely.

    VSonic doesn’t have any fixed loop on their GR07 monitors but they’re a little less of a traditional monitor than the Westones.

  8. Replacing custom-fit Shure E-5. Need something comparable without that huge loop going over the ears!!

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