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Stage Monitors Primer: Tips, Techniques, and Rules of Thumb
Mixing monitors can present challenges even for experienced sound people.
Yikes! As if keeping the front-of-house mix under control wasn't difficult enough, now you have to worry about a monitor mix for the musicians and singers on the stage! Mixing monitors can present challenges even for experienced sound people.
We polled loudspeaker manufacturers and pinged some audio professionals, asking them to provide tips, techniques, and rules of thumb about running stage monitors. Most manufacturers feature more than one model in their lineup so be sure to check their websites (listed in the Quick Links) or check with a systems integrator to find the most appropriate product for your needs.
The contributors generally had a lot more to say on the subject of monitors than what we could fit in this article and we've done some editing for space considerations. For all the comments, as well as more tips, techniques, and rules of thumb from additional sources, go to www.churchproduction.com.
Dan Palmer, manager, L-Acoustics Installation Sound provides a good overview:
“The selection and usage of stage monitors for house-of-worship applications requires insight and knowledge. The monitor system must provide full coverage for performers, church staff, ministers and clergy. The mix is different than the FOH mix, of course, but the sound quality and impact should be representative of what is going out to the audience. Proper system EQ, level balancing, control of the monitor (limiting), frequency response, directivity (what is the coverage area requirement?), and even the physical profile of the monitor (aesthetics) are major considerations.”
As to the primary purpose of monitors and what the mix should consist of, Kent Morris, Peavey Electronics audio consultant weighs in: “Stage monitors should be used for only two purposes: to keep the performer on time and on pitch. Too often, church stage personnel ask for a myriad of signals in the monitor to their listening detriment. The more elements present in the monitor mix, the less discernible each element becomes. If the mix is limited to hi-hat, acoustic guitar, right hand of keyboard and vocal, the mix is clean enough to present a proper palette.”
Get the Right Tool For the Job
Insofar as the gear is concerned, Nigel Meddemmen, technical sales support, Martin Audio Ltd. says, “The first step is to ensure that the monitor is driven correctly with a suitable amplifier and a controller to get the best from the monitor. A great sounding monitor is a good starting point.”
John Loufik, technical applications engineer, Community Professional Loudspeakers reinforces that getting the right monitor for a particular application is key. “Pick the right monitor for the right job. Selecting bandwidth and horn pattern can make or break monitor choices for various situations. For example, duet singers sharing a monitor need a wider opening horizontal angle whereas solo musicians need a tighter horn pattern to focus on them and not spill their mix to adjacent musicians.”
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Mark Johnson is an independent technical trainer/writer based in Crockett, Calif., and former editor of Sound & Video Contractor and Church Production magazines. He can be reached at mjohnson6286@sbcglobal.net.
Quick-links
Apex 1200
Post a Comment
ADD NEW COMMENTHere are a few other points to consider:
1 The best monitor engineer is the one with full, fine control of the system.
2 What a load of nonsense about having just a few elements in the mix. The musician needs to hear just about everything, with himself just a little louder. 3 A loud element can mask everything else. 4 A sweet sounding monitor is very important: smooth midrange, bass and treble. Skilful EQ is a must. Thanks for the article
Posted by Reynard Foxe on 01/16/2012 report abuse