Who decides what is in a monitor mix and how loud it will be? Is it the sound operator or the musician/vocalist using the monitor? First, a little education – a monitor mix should not mimic the main (house) mix, nor should it include every audio source available from the console. The purpose of a monitor mix is to fill in the missing information (sound) so the musician/vocalist can play/sing in time, on key and blend with everyone else. It is not so they can hear their own personal “show”. The monitor system and mix is in place to make up for the fact that multiple musicians/vocalists who are spread apart from each other (or in some cases, too close) can’t hear everything they need to. (Although this could be remedied with proper acoustics, placement of the musicians/vocalists and “perfect” musicians/vocalists these are not things most churches (or even professional performance halls) can attain.)

There are few sound operators who, using their experience with the system, room and musicians/vocalists can provide the perfect monitor mix for those needing it. The operator is not on the platform, they are not hearing what those people hear, and they have no way to judge the volume level (even if they can get the mix “just right”). I can’t tell you how many times I’ve heard an operator say something like “but the knob is set at 6, where we always have it!” Along with this, the sound operator must pay close attention to those on the platform during a service or event. They must watch for cues that someone can’t hear and actively make adjustments to quickly fix the situation. This is why it’s called “running” sound and not “standing-at-the-console-just-watching” sound.

Although it’s important for the sound operator to pay close attention to how changes in the monitor mix affect the sound in the house (for the congregation), it’s even more important they pay attention to the needs and wants of the musicians/vocalists.  If those on the platform claim they can’t hear, help them out! Check the physical placement of the monitors (if floor or stand monitors are used), take a walk to the platform (while someone else watches the console) and take a listen for yourself to hear exactly what they’re hearing.

Keep in mind the acoustics of the room determines exactly what and how people hear things, and that no monitor adjustments can overcome the detrimental effects of acoustical problems. Also, there comes a point when the volume level of the monitors, though possibly correct for the musicians/vocalists, negatively affects what the congregation hears; this must be avoided.

We’ll discuss an easy method for setting monitor mixes and levels in a future blog entry or article.