Continuing our series in mixing monitors, we’re taking today about mixing monitors from FOH. In the previous two episodes, we’ve considered mixing monitors from a dedicated monitor console and personal mixers. Today, we’ll look at mixing monitors from FOH. Now, some might immediately discount the idea of mixing monitors from a FOH console as amateurish. However, my friend Andrew Stone does this, and few—if any—would call him an amateur.
Making It Work
The basic premise of mixing monitors from FOH is simple; use the aux sends on the console to drive ears or wedges for the band. Often times, this is wireless ears, but wired can be accomplished with the use of headphone amps. Depending on the console, the mixes may be mono or stereo—this will be a function of how many aux sends are available. Again, depending on the console, there may be a bunch of returns in the snake or the outputs will come off a stage box. Digital consoles are making this easier to do as stage boxes typically have a fair number of outputs on them. From the output, you’re either driving wireless transmitters or headphone amps.
The biggest upside to this method is that every input—even local ones—are available for the musicians at any level they desire. You don’t have to worry about splits, or how to get the ProPresenter channels down to monitor beach. Whatever is on the console can go to the band. You don’t have to worry about channel limitations, musicians not being able to mix or how to fit everything in. Having everything centrally located, so to speak, can be a big advantage. Troubleshooting mixes is also easy. If you’re the only tech guy on staff, not having to run between two boards to solve a problem can be a real time and stress saver. But, there are some limitations.
While the biggest upside is that all your console channels are available, the biggest downside is often that you don’t have enough mixes. Small to mid-size consoles typically have between 6-16 aux mixes. And if you want to use effects, you need at least 1-4 of them for that purpose. On smaller consoles, you may have 16 auxes, but if you want to do stereo mixes—and I think you should if at all possible—you will have a maximum of 8 people you can mix for. But since you’ll have some effects running, you probably can only do 7.
On larger consoles, you can do more, but of course, that means more to keep track of. The workload goes up when you have to keep 6, 8 or a dozen musicians happy plus keep FOH sounding great. This is not to say it’s impossible, it just takes a little more work. You have to be a bit more intentional during soundcheck to make sure you get the mixes dialed in right and quickly before starting on the house mix.
Is right for your church?
Again, this is something you need to think about. On some levels, the lack of complexity is very nice. With everything in one spot, it’s easy to manage. But it does increase the workload on the FOH engineer. It is cost-effective, however. Personal mixing systems can be expensive, as is a second console. In any monitor situation, you need wedges, wireless IEMs or headphone amps, so when we take those out of the equation, mixing from FOH is the least expensive solution. It’s also not a bad way to start. For a young or growing or transitioning church, you can start off mixing from FOH, then add personal mixers or a monitor desk as money and personnel permit.
Alright, so those are the 3 methods for mixing monitors. Next time, we’ll consider the .5 way.