Personal Monitor Systems 142737.7.1.2 Club Level Bands—With Monitor Console
At this point, a typical small format FOH console has
reached its limit for monitoring purposes. Bands that
have graduated to the next level of performance (larger,
more prestigious clubs and theaters or small tours) may
find themselves in a position to take advantage of a
dedicated monitor console. Most monitor boards are
capable of providing at least eight mono (or four stereo)
mixes. It now becomes practical for each band member
to have his or her own dedicated mix. System hookup is
again very simple—the various mix outputs from the
monitor console are connected directly to the personal
monitor system. Stereo monitoring is a much more
viable option due to the large number of mixes avail-
able, as well as the presence of a skilled monitor engi-
neer to adjust the mixes to the point of perfection.
Some performers even carry their own monitor
console. Due to the consistent nature of personal moni-
tors, a band with the same instrumentation and
performers for every show can leave the monitor mix
dialed-in on its console. Since venue acoustics can be
completely disregarded, a few minor adjustments are all
that is typically necessary during sound check.
A personal monitor mixer can also be used to
augment the monitor console, if the performer desires
some personal control over what is heard. In the past,
drummers or keyboard players would use a small mixer
and Y-cables to submix their instruments for in-ear
monitors. A mixer with built-in mic splitting capability,
such as the Shure P4M Personal Monitor Mixer, Fig.
37-7, can be used in the same capacity, but without the
need for Y-cables.
37.7.1.3 Professional Touring System
When budget is no longer a consideration, personal
monitoring can be exploited to its fullest capabilities.
Many systems used by professional artists on large-
scale tours often employ greater than sixteen stereo
mixes.
A completely separate, totally personalized mix is
provided for every performer onstage. Large frame
monitor consoles are a requirement. For example, to
provide sixteen stereo mixes requires a monitor console
with thirty two outputs.
Effects processing is generally employed to a much
larger extent than with a smaller system.
When operating a large number of wireless personal
monitor systems, R-related issues become much more
important. Frequency coordination must be done care-
fully to avoid interaction between systems as well as
outside interference. Depending on the extent of the
touring, a frequency agile system is desirable, if not
required. Proper antenna combining, to reduce the
number of transmitter antennas in close proximity, is a
necessity. Directional antennas may also be used to
increase range and reduce the chances of drop-outs due
to multipath interference.37.7.2 Mixing for Personal MonitorsMixing for personal monitors may require a different
approach than one used for a traditional monitor system.
Often, the requirements for the performers are very
involved, and can require a greater degree of attentive-
ness from the monitor engineer. In particular, many
small nightclub sound systems typically provide moni-
tors for the sole purpose of vocal reinforcement. An in-
ear monitor system, due to its isolating nature, usually
demands other sound sources be added to the monitor
mix, especially if the instrumentalists choose to reduce
their overall stage volume. Some performers may prefer
a more active mix, such as hearing solos boosted, or
certain vocal parts emphasized. This luxury usually
requires a dedicated monitor console and sound engi-
neer. The FOH engineer has enough responsibility
mixing for the audience, and generally only alters the
monitor mix on request from the performers. In most
situations, except for the upper echelon of touring
professionals, this approach is perfectly acceptable and
still far superior to using wedges.
For performers who are mixing for themselves, there
are other considerations. One of the advantages of
having a professional sound engineer or monitor engi-
neer is years of experience in mixing sound. This skill
cannot be learned overnight. For bands that are new to
personal monitors, there is a strong temptation to try to
create a CD-quality mix for in-ears. While this is
certainly possible with a trained sound engineer and the
right equipment, it is unlikely that someone unfamiliar
with the basic concepts behind mixing will be able to
successfully imitate a professional mix.
A common mistake made by in-ear monitor novices
is to put everything possible into the mix. Here’s an
alternative to the everything-in-the-mix method:- Put the earphones on and turn the system on. DO
NOT put any instruments in the mix yet. - Try to play a song. While performing, determine
what instruments need more reinforcement. - Begin bringing instruments into the mix, one at a
time. Usually, vocals come first since those are often
the only unamplified instruments onstage.