1. Think of each monitor as a separate mix than that of the house mix.
If you have four monitors and a house mix, you effectively have 5 separate mixes (4 mono and one stereo). If you are then going to make a recording with a “B” mix… You are then looking at 6 independent mixes. This can all get a bit confusing especially in a hectic environment of 5 bands a night all wanting a sound check and getting to play on time. One thing that should put your mind at ease is that your monitor mixes rarely need to be as complex as the house mix. Usually singers only want to hear themselves, so that is only one source sent to that one monitor. Simple enough, right? This is generally true with most vocalists. Guitars, especially acoustic, are likely to end up in the mix as well. If you have a monitor set up for the drummer, this is usually the most complex stage mix more like that of the house mix. If you think in terms of separate mixes, you are likely to keep this all straightened out in your head while you are in the moment.
2. Give each monitor mix it’s own EQ
This is a very important and overlooked tool that should not be discarded to cut costs. The main benefits to using independent discreet EQ control over each monitor mix is to greatly reduce feedback. This can be done by finding the offending frequencies per monitor location and reducing them. Deductive EQ should always be used; do not boost any frequencies. This is certainly a less is more situation. Also, rolling off the bass around 125kHz and below will make a large difference in clarity. These frequencies are of little help to the musicians on stage and create phase problems much more easily than their siblings in the higher range.
3. Each mix needs it’s own power amp channel
Once you have your own mix and EQ settings, a discreet amp is a must. To have a separate mix then combine them back together completely defeats the purpose. This may sound like a no brainer, but I have mentioned it because you would be surprised what I have seen attempted. There are several amp models that have 4 discreet channels and these would be more that adequate for 4 monitor mixes for a small to medium stage. Generally what you will see in larger settings is 2 channel amps that power 2 mono monitor mixes.
4. Location, location, location
Where you place the monitors will make them more or less effective. You need your performer to hear what they are doing, but you do not want to trap them on stage and you need to be able to give them what they ask for. Wedge floor monitors are the vast majority of what are used. I have see some ceiling mounted wedge speakers that have worked quite well in smaller fixed settings. Side fill speakers are sometimes used in larger stages and are very common for the drummer’s monitor. Speakers in the rear pointing forward are just asking for feedback problems. Make sure that no monitors are pointing anywhere close to directly at open microphones.
5. Treat your stage
Even minor acoustic treatments will make a large difference in what you can do with your monitors. Highly reflective surfaces will make things difficult in making your monitors effective. If your monitor output can bounce off the back wall then to the ceiling and directly back to the mic, you have yourself a pretty serious feedback loop. A club that I have worked at over the past couple years has a large window at the back of the stage. After putting up a furniture pad covering the glass, the monitors were able to be raised significantly for the performers. Basically, a $12 moving blanket solved a major problem. With all the professional acoustic tiles and treatments out there these days the sky is the limit.
I hope that this article will help you get a better mix to your performers resulting in a better overall performance. Also, if a performer can hear themselves clearly on stage, they are far more likely to want to come and play at your venue again.
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