Stage Monitor Setup for Live Bands

For decades, wedge monitors were the only option: a loudspeaker on the floor pointing at the performer. Today, in-ear monitors (IEMs) offer an alternative that eliminates stage volume and feedback issues. The choice depends on budget, stage size, and the band's preference.

Wedges are simple, robust, and familiar. SSOUNDS designs wedge monitors with high SPL capability and controlled directivity to maximise gain-before-feedback. They work well for smaller stages where the drummer's cymbals and guitar amps already create high stage volume. The downside: wedges add to stage wash, which can muddy the front-of-house mix and cause feedback loops.

IEMs provide isolation, allowing each musician to hear a custom mix without bleeding into open mics. They reduce stage volume dramatically, which improves FOH clarity and reduces ear fatigue. However, IEMs require a reliable wireless system or a wired beltpack, and some musicians dislike the 'disconnected' feel. A hybrid approach — wedges for the drummer, IEMs for vocalists — is common.

Gain-before-feedback (GBF) is the maximum level a monitor can deliver before acoustic feedback occurs. It is determined by the monitor's polar pattern, frequency response, and placement relative to microphones. SSOUNDS engineers optimise GBF through careful waveguide design and DSP limiting.

To maximise GBF: position wedges behind the microphone's null (typically 180° from the mic's pickup pattern), use cardioid or hypercardioid mics, and apply high-pass filters to cut low frequencies that cause boom feedback. SSOUNDS monitors include built-in DSP presets that tailor the EQ for feedback suppression while maintaining vocal clarity.

For IEMs, GBF is not an issue because the sound is delivered directly into the ear canal. However, the ambient sound bleed from acoustic instruments or drum kit can still cause issues if the IEM seal is poor. Proper ear moulds or foam tips are essential.

Each performer who needs a different mix requires a separate monitor mix. A typical small band (4-piece: vocals, guitar, bass, drums) may get by with 2–3 mixes: one for the vocalist, one for the drummer, and a shared mix for guitar and bass. As the band grows, so do the mixes.

For a 5-piece with two vocalists, you likely need 4 mixes: lead vocal, backing vocal, drummer, and a stereo mix for the front line. SSOUNDS digital consoles and DSP allow routing up to 16 independent monitor mixes from a single stage box, with individual EQ and dynamics per mix.

IEM systems often use stereo mixes, which require two channels per performer. This doubles the mix count but improves spatial awareness. Wireless IEM transmitters typically handle one stereo mix per unit, so a band of 5 on IEMs may need 5 transmitter units (or more if sharing is possible).

For a 3-piece band (e.g., power trio): 2 wedges (one for the vocalist, one for the drummer) or 2 IEM mixes. The bassist and guitarist can share a wedge if they stand close.

For a 4-piece band: 3 wedges (vocalist, drummer, one for the front line) or 3–4 IEM mixes. If the vocalist also plays guitar, a single wedge may suffice for both.

For a 5-piece band with two vocalists: 4 wedges (lead vocal, backing vocal, drummer, front line) or 4–5 IEM mixes. A side-fill wedge for the drummer is often added.

For a 6+ piece band (e.g., with horns or keys): 5–6 wedges or 6+ IEM mixes. Dedicated mixes for each horn player are common because they need to hear themselves clearly. SSOUNDS line array systems can also serve as side-fills for large stages.

Always have at least one spare wedge or IEM receiver on hand for troubleshooting. SSOUNDS offers rugged, weather-resistant wedges that handle the rigours of touring.

Start by placing wedges at the performers' feet, angled up toward their ears. For IEMs, ensure each musician has a clean feed from the console. Use a separate monitor send for each mix, and apply high-pass filters (80–100 Hz) to reduce low-frequency rumble.

Ring out the system: slowly increase the monitor level until feedback begins, then notch out the offending frequency with a graphic EQ. SSOUNDS DSP includes automatic feedback suppression algorithms that can help, but manual ringing out is still recommended for critical shows.

Set the monitor mix levels relative to the stage volume. If the drummer is loud, the vocal wedge needs to be louder to cut through. IEM users should set their personal mix to a comfortable level, typically 80–85 dB SPL to avoid hearing damage.

Test with the band playing. Walk the stage to ensure no dead spots. Adjust wedge angles and EQ as needed. For IEMs, check that the wireless signal is stable and that all packs are charged.

Stereo IEM mixes give musicians a sense of space and direction, which helps with timing and feel. Many professional IEM users prefer a stereo mix with the drum kit panned slightly left and the bass centred, for example.

Ambient microphones placed on stage can be mixed into IEM feeds to provide natural room sound and prevent the 'isolated' feeling. SSOUNDS recommends using small-diaphragm condenser mics for ambience, with a low level in the mix.

For wedge systems, consider using cardioid subwoofers to reduce low-frequency bleed into vocal mics. SSOUNDS subwoofers feature cardioid configurations that minimise rearward radiation, improving GBF on stage.