Like it or not, monitor mixing tends to get a "water-boy" image compared to the FOH position. But a bad monitor mix situation can really create a bad performance as performers suffer through less than ideal conditions. And, interestingly enough, a bad FOH mix may not even be noticed by the performers as they enjoy a good vibe onstage thanks to a great monitor mix.
I want to share my mindset when monitor mixing, because one can achieve great pride doing this task and not worry much about the prima donna working out at the FOH console. After all, you are working for the band, and the job is to deliver maximum satisfaction to them within the limits of the equipment. However, I also look at monitor mixing as how I would want things done for me if I were performing on the stage. And if you are a current or former musician, monitor mixing should be a position you desire. In The Beginning
Back when I started playing guitar with bands in the mid-1970s, we did not even have stage monitor speakers. Any clues on how our vocals blended, as well as the vocal to instrument mix, was found by hearing the echo off the back wall of the barroom. Being a curmudgeon of sorts, I do not hesitate to bring up that anecdote when I run into young musicians insisting on elaborate monitor mix setups when limited time or gear prevent the request from being honored. And my band's first monitor system consisted of 60-watt Bogen amplifier driving three homebrew single 12-inch woofer wedges (what tweeters?) to the performers from a tap off the main mix.
Today we can have many mixes using dedicated monitor mixing consoles, high power amplifiers and monitor wedges of fine quality. And with enough mixes and input channels, doing PM mixes is finally becoming feasible for mid-level performers to implement. While the additional skills needed for PM mixing is a subject for another day, mixing for wedges covers many of the same tasks.
Preparation
When going into a monitor mixing gig, knowing the artists and the gear makes a big difference in the stress levels of the gig. Having no knowledge of either, I usually scout the venue, or call the providing soundco to find out what console they are using, what wedges will be used and any other specifics like amps (Bi-amp or passive) and number of mixes possible. If I have done the act before then I feel better about their needs, and can focus on lining up the gear. But if I don't know the performers, I will either get their monitoring needs in advance, or at least query them as soon as possible before sound check.
Once I have determined the gear and its starting configuration, the first thing I want to do is "zero" out the console. For me, zeroing means cranking back the gains to at least the ten-o'clock positions and checking the pads and polarity switches for normal settings. Monitor console channel strip EQs get flattened at first, unless there is an automatic tweak I do to certain instruments. A good example would be the lower-mid, wide-Q dip on the kick drum mic.
Next on the zeroing of the monitor console are mix/aux feeds for each mix. I start with every feed completely off, then methodically build vocals-only mixes for each wedge mix. A typical example would be three downstage mixes labeled 1, 2 and 3 from stage-right, center and stage-left. Knowing which downstage vocal mics are on which channels (say 17, 18 and 19 from stage-right to left), I push each mix/aux send to 2 o'clock as a starting point. Then I bring the other vocals into each mix at 12 o'clock positions, so that each vocalist gets their vocal on top of their mix, just in case egos get the best of them. Then I set up a drum mix with 12 o'clock vocals and a 10 o'clock kick mic setting.
The last zeroing item is to bring the mix masters to zero before firing up the EQs, amps and wedges. Then check out all the remaining signal chains for sanity settings. Things like hacked up graphic EQs, and misset crossovers get attention before they get powered up. If I see lightly sloped EQs and proper cross-over settings, I will assume all is well and go on to wedge positioning and powering up the amplifiers. If I have speaker processors on wedge mixes, the sanity check generally goes deeper, but typically processor owners know what they are doing.
The Moment Of Truth
By this time you should be feeling somewhat confident that everything is set to your desires, and be ready for more confidence building. So get your amps powered up, and your talkback mic wired up and ready to go. Put talkback into each mix master and slowly bring up the fader chosen for each mix. You should get your voice through the desired wedges. Do this separately and note mentally the approximate fader levels on each mix. If there are flips in which wedge is getting what mix, or no talkback at all, then it is time to troubleshoot.
Once you have talkback confirmed in each mix, you can do two things. One would be to bring all the mixes up to nominal levels, and then get an assistant to work each vocal mic up to proper channel strip gains and note any bad frequency response issues. Things like blown or buzzy tweeters and bad EQ settings can receive further attention. Once things sound normal, you can turn down all the mixes and proceed to ring out.
Ring Out
One mix at a time, go back to the nominal levels you set before, and then slowly start pushing each mix to the point of ringing. Then it is all about identifying frequencies, notching them out 6dB, and then cranking up the fader for another ring or two. There is no sense doing a half dozen rings per mix, as the first couple will give you the most gain, and the rest just modest incremental dB gains. For me and my rig I just cheat, and ring out everything quickly. Then I flip the faders off and switch on the graphic EQ feedback detectors on my dbx iEQ31s. With six fixed filter notches and six more floating notches I do not hear a squeal from the wedges the rest of the night.
The Waiting Game
After ringing out, the rest of the night is waiting on the performers, adjusting mics and DI boxes and filling in their mix requests. Most musicians are reasonable people and only ask for a couple extra inputs beyond vocals. Beware of the ego-monsters with the "more me in the wedge" attitude. So far my worst monitor mix night was a 100-watt Marshall- stack-playing guitarist who doubled on fiddle that was also plugged into the amp. He, of course, wanted more Marshall in his wedge while performing fiddle solos. Somehow you just have to cross your fingers and hope there is a bit more feedback headroom between the mic and the wedge parked six feet in front of the mic.
During the show, be responsive to the performers and keep your focus on the show as best as possible. Do not go about making tweaks of large impact, or you will soon be persona non grata with the performers. If you hear some edges of feedback, you can PFL or AFL around mixes and channels and be proactive about notching out a suspect ring. And, as I have mentioned several times over the years, you can monitor the PFL/AFL line with an RTA display to help find those "almost rings". With your trusty Neutrik Minilyzer and SmaartLive software you can give your ears some help with your eyes.
