Managing Monitors

Dear Anklebiters,

Brian Cassell: While it is physically up to the engineer to make the adjustments, I don't think it's really up to him or her to decide what should or shouldn't be in a musician's monitor mix. An engineer really needs to communicate clearly with the musicians to know what they need to hear. And from my experience, the musicians are the only ones who really know what they need to hear. After all, they are the ones who need to stay in tempo and stay in pitch with the other performers onstage. Now, an experienced engineer may have a rough idea of what each musician may need to hear in their monitors, but I find this to be no more than a good starting point. The exception to this is when you are in a situation where you repeatedly work with the same artist. Then you are able to better know what they will need to hear. This kind of scenario is one that really benefits from a digital console, or even a dedicated monitor console that doesn't get used for other acts. When you have this luxury, you can save those monitor settings and recall them at the next show. But you can't always expect them to stay the same from show to show. Unless each person consistently uses PMs, small changes in the venue can greatly affect what the folks on stage need to hear. So even with recalled settings on a console, you are back–at best–to a really good starting point for sound check.

Now, there are a couple of limits on what an engineer can allow a musician to insist on, and these should seem simple, but I want to touch on them anyway. It is the engineer's responsibility to keep a handle on the gain structure of each mix. Distorted mixes aren't much good to the performers, and blown wedges aren't any good on the budget. You also have to keep the acoustical output of the monitors below the point of feedback. And even with a properly set EQ, there is always a point where a monitor will eventually feed back. Within these parameters, I say, give the musicians anything they want. Paul, what's your take on this?

Paul Overson: I have had so many musicians who don't know what they want start asking for the moon and it turns into a huge loud mess. These are usually acts lower on the food chain who are used to just a couple of wedges so they can sort of hear the vocals. In those cases, the engineer probably knows better what to put into the mix. If I were that engineer, I would put vocals, kick, snare and maybe a little of the keys. If the vocals (especially high in the monitor) are to keep the band on pitch, some kick and snare is needed to keep them on the beat. Inexperienced bands tend to really turn up the guitar amps on stage and drown out everything else. I would work on turning these down until they have their "tone," but not any louder. The "good" engineers are in a better position to help educate the newbies. Brian, how do feel about that?

Brian Cassell: Well, I'd say that would certainly apply when the musicians on stage don't have enough experience using a monitor to know what they need to hear. I've been the engineer in that situation many times, and I'll admit that those circumstances would be an exception to what I said earlier. When you get in that position, the trick is to be sure to get those vocals up loud in the wedges before the band starts to sound check. When they can hear themselves singing above all the other stage volume, you're winning half the battle. Once the vocals are there, you can certainly add other elements, but what you add and how much will depend greatly on the size of the stage and how loud each person is playing. As far as stage volume goes, getting folks to turn it down can be pretty tricky. While the more experienced musicians should have a better idea of how loud to play, does that mean it's our job to teach the new guys? Maybe that job does fall on our shoulders whether we like it or not. After all, the overall sound in the room reflects greatly on our own reputation.

Paul Overson: Brian, I think that the best way to mix monitors is to let the musicians think that they are in charge and gently guide them to do what is best for the overall sound of the show. Work with them to get the vocals in tune and be in harmony with each other. Next of importance is to get the stage noise to a level that doesn't impact the FOH mix. It will take a true professional approach to do this. So listen up engineers, your people skills are every bit as important as your engineering skills.