Stage Monitor Setup for Live Bands

Wedge monitors are the traditional choice, offering high SPL and tactile feedback. They work well for loud stages and musicians who prefer feeling the sound. However, wedges introduce feedback risk and bleed into vocal mics, limiting gain-before-feedback. SSOUNDS wedge systems are engineered with tight pattern control and high headroom to maximise usable gain while minimising spill.

In-ear monitors (IEMs) provide isolation, consistent mixes, and reduced stage volume. They eliminate feedback issues and allow for more precise monitoring. The downside is the lack of physical sensation and potential isolation from the audience. Many bands use a hybrid approach: IEMs for most members and a wedge for the lead vocalist or drummer for added impact.

Gain-before-feedback (GBF) is the maximum level you can push a monitor before it starts to ring. It depends on mic placement, monitor position, and system EQ. To maximise GBF, position wedges behind the microphone's null (typically at 180 degrees from the mic's front) and use high-pass filters to cut low-end rumble. SSOUNDS loudspeakers feature advanced DSP with feedback-suppression algorithms and phase-coherent crossovers that help achieve higher GBF without sacrificing clarity.

For IEMs, GBF is virtually unlimited because the earpieces isolate the listener from the stage sound. This allows for louder, cleaner mixes. However, you must manage ambient sound pickup from open microphones, which can still cause feedback in the house system if stage volume is too high.

For a small band (3-4 members), two to four monitor mixes are typical. The vocalist gets their own mix with vocals and a bit of instruments. The drummer may get a click track or a full mix. Guitarists and bassists often share a mix. Use aux sends from the console to feed each wedge or IEM transmitter.

Medium bands (5-7 members) require four to six mixes. Each vocalist should have their own mix, and instrumentalists can share based on stage position. A dedicated mix for the drummer with kick, snare, and click is common. SSOUNDS recommends using digital consoles with scene recall to quickly adjust mixes between bands.

Large bands (8+ members) need six or more mixes. Consider using stereo IEMs for key members and mono wedges for others. Monitor engineers often use matrix outputs to create submixes for groups of instruments. Advanced DSP in SSOUNDS amplifiers allows for precise EQ and delay adjustments per mix to maintain coherence.

For a trio (guitar, bass, drums, one vocalist), two wedges are usually sufficient: one for the vocalist and one shared by the instrumentalists. Add a drum fill if the drummer needs more low end. For a four-piece with two vocalists, three wedges cover the vocalists and a shared instrumental mix.

A five-piece band with three vocalists typically needs four wedges: one per vocalist and one for the rhythm section. The drummer may get a dedicated drum fill. For six or more members, plan for at least five wedges plus a drum subwoofer if using wedges. IEMs reduce the wedge count significantly; often only a drum fill and a side fill remain for ambience.

Start by placing wedges at least 3 feet from the back wall to avoid low-frequency buildup. Angle them so the horn axis is aimed at the performer's ears, not their knees. For IEMs, ensure transmitters are on clear frequencies and receivers are charged. Use a separate monitor console or a digital desk with dedicated monitor outputs.

Ring out the system before soundcheck: slowly raise the gain on each wedge until feedback occurs, then notch the offending frequency with a narrow EQ cut. Repeat for all wedges. SSOUNDS DSP includes automatic feedback detection that can assist this process. Finally, set the overall mix levels during soundcheck, starting with vocals as the foundation.

Many professional tours use a hybrid approach. The lead vocalist might prefer a wedge for the physical feedback, while other band members use IEMs for isolation. The drummer may use a wedge for a kick drum thump plus IEMs for the rest. This setup requires careful gain staging to avoid feedback from the wedge into IEM microphones.

SSOUNDS systems are designed for flexibility: their amplifiers can drive both passive wedges and IEM transmitter racks, and the DSP can store presets for different configurations. This allows a single system to adapt to any band's preference without compromising performance.