Musicians naturally want to hear themselves clearly through stage monitors. However, if the monitor mix is built entirely around the musician’s preferences (a musician-centric setup), it can quickly lead to high stage volume and an imbalanced house mix.
Let’s explore why a congregation-centric approach to monitor mixing is often more effective — and how it helps both the musicians and the audience.
The Problem with Musician-Centric Monitor Setup
Setting monitors first — before establishing your house mix — creates several issues:
Overcompensation in Monitor Levels: Without the mains active, you’re likely to raise monitor levels higher than necessary. Once the house speakers are turned on, the combined volume can overwhelm the room.
Stage Volume Bleed: Without referencing the house mix, you can’t assess how much monitor sound is bleeding into the audience area, especially the first few rows.
Fighting Stage Volume: Your front-of-house mix ends up battling with monitor spill, leading to muddiness and poor clarity. You’re not just mixing for the room — you’re adjusting to cancel or compensate for excessive on-stage sound.
Why a Congregation-Centric Setup Works Better
When you begin with the house mix first, the benefits are immediate:
Establish a Baseline Mix: You set the main sound levels in the room first — giving you a clear reference point before bringing in monitor mixes.
Monitor Levels Stay in Check: You’ll be able to hear when monitor volume starts interfering with the house sound. At that point, you can work collaboratively with musicians to adjust their mixes without affecting the audience experience.
Better Monitor Choices: Musicians often find they can get a better result by turning some elements down rather than turning others up. For example, lowering one instrument’s level in their monitor might help them hear another more clearly — without adding more volume overall.
Bonus Tip: Explain to musicians that when their monitors get too loud, the audience hears a blend of sounds hitting their ears at different times — which compromises the clarity of the mix.
But What If You Still Prefer a Musician-Centric Setup?
Let’s say you build your monitor mixes with the house speakers off and still manage to get a decent mix by the end. Chances are:
You’ve had to make a lot of adjustments after turning on the mains.
You’ve spent far more time tweaking than necessary.
Ultimately, this approach creates more work and introduces unnecessary complications.
A Simplified Soundcheck Workflow
After your initial line check and signal verification:
Set channel gains with faders at unity (0 dB).
Apply basic EQ to shape your sound. Remember, EQ changes can affect volume.
Set your house mix first with the main speakers on.
Begin monitor mixes with the house still active.
Walk the room during a practice song — especially near the front rows — to detect monitor bleed.
Adjust as needed, then finish your house mix.
Summary
Musicians want to hear themselves well to perform their best — but their ultimate goal is for the audience to experience excellent sound. A congregation-focused monitor setup balances both needs effectively.
Discussion
What’s been your biggest challenge with stage monitors or volume bleed? How have you solved it? We’d love to hear your experience — and your tips!
Thanks for helping us continually refine our sound tech creativity.
SMI – Inspiring Creative Minds Through Learning 🎧