An Audio Engineer & Musician’s Perspective on the REV33

Performing musicians and sound engineers agree that the REV33 makes their in-ear monitors (IEMs) work better. The REV33 ( is a small, powerful device that fits neatly between your receiver pack and IEMs. There are compelling design and functionality details that can help explain what the REV33 is doing but most importantly, those using the REV33 confirm its value.

Hearing is unique to the listener. Though we may interpret many qualities of sounds (music, speech, ambience…) the same, our individual ability to hear certain textures and frequencies and our descriptions of the phenomena will vary. This certainly makes IEM selection challenging and it can also complicate trials and qualitative assessment of the REV33. The quantitative data illustrating less distortion may be somewhat intangible to someone interpreting that as more clarity in the low-midrange frequencies, for example, or some other sonic benefit.

Through many live performance trials using prototypes of the REV33, we have noticed descriptions of the phenomena. Much we could relate to, some new, some familiar, but most participants of the trials were describing the same qualities, only with different perspectives and different experiences.

Folks have consistently said that with the REV33, the IEM experience was simply better… a lot better! Others have said that the REV33 effect was subtle but important.

Hearing these testimonials has been extremely validating. Folks have consistently said that with the REV33, the IEM experience was simply better… a lot better! Others have said that the REV33 effect was subtle but important. Still others have said that they initially felt something was missing, only to realize after a couple of songs, when their ears open up after initially expecting the normal distortion and noise, that nothing was missing and that more sonic content was present, just with less harshness from the distortion and noise. One important early benefit that we have heard from the artists using the REV33 for performances lasting 90 minutes to over 3 hours was that they had much less ear fatigue and their hearing was much better after a performance and the next day!

When I first tried the REV33 in a live performance situation, I noticed an improvement immediately. The experience and positive effects on the performance seemed to grow and become more and more noticeable with duration of use. The first thing I noticed was clarity of low and low-midrange frequencies along with separation of instruments. I could hear that my IEMs handled bass guitar much better and could hear distinctly the separation from kick drum, rather than a low, muddy mash of the two. Well into a set of music, other qualities became very noticeable. In particular, the upper midrange frequencies were much less harsh, in fact smooth, and the highs were also smooth, clear, and detailed.

There have been more and more benefits with the REV33 that I’ve noticed after months of professional usage. Some subtle, and some not-so-subtle. But this grows on me and as more and more artists and engineers are using the REV33 – they are providing the same positive feedback. Though the technical data and functionality are vitally important as to why this thing works, it may be initially less important to the reason to try it. Because, so far, music professionals like me agree that with our IEM performance experience the REV33 just makes it better… a lot better!

Bryan Anderton, Owner of Lava Studios / seasoned sound engineer, musician, composer. Co-founder of REVx Technologies, Inc

A few of the bands, musicians, monitor engineers and IEMs contributing to the data in this Blog are: Kenny Chesney, Wyatt Beard, Brent Lind, Creedence Clearwater Revisited, John Tristao, Stu Cook, Ron Wikso, David Miller, Big Head Todd and the Monsters, Matt Jones, Brian Nevin, Tommy Leerschen, Anthony Roberts, Tower of Power, Max Frost, Buddy Guy Band, Marty Sammon, Tim Austin, Mike Tomaskovic, Roxy Roca, Sensaphonics 2XS, 3Max, Shure SE315, SE425, SE535, JH Audio, JH Roxanne, JH 16, JH11, ACS T1, JH 16, Ultimate Ears UE18, UE11, UE7, 1964 Ears, V8, A12, Westone ES2, ES5