What is a monitor console used for?

A monitor console is used to create and manage monitor mixes for performers. It does not prepare the main mix for the audience, only signals directed to wedges, IEMs, sidefills, and other monitoring systems.

One MON position can handle:

• a few wedge mixes,
• many stereo IEM mixes,
• sidefill,
• drum fill,
• talkback,
• technical communication,
• additional feeds for musicians.

Each of these mixes can have different proportions.

The vocalist may primarily need their voice and keys, the drummer needs bass, click, and playback, while the guitarist needs vocals and the rhythm section.

That’s why monitoring is not a "copy of FOH." It’s a separate set of mixes tailored to the performers' needs.

If the system is larger, managing these mixes becomes a full-fledged production task. 

Can monitors be managed from the FOH console?

Yes. At small and medium concerts, monitoring is very often managed directly from the FOH console.

The engineer then creates the main mix for the audience and simultaneously sends channels to the monitor buses.

So they can manage from one console:

• main mix,
• a few wedges,
• simple IEM,
• additional mix buses.

This solution has several advantages:

• less equipment,
• less cabling,
• fewer people needed for operation,
• simpler setup.

However, it also has limitations.

The most important thing is that the FOH engineer is usually in the audience and does not hear directly what is happening in the wedge at the stage.

It can use solo, cue, or an additional monitor, but still assesses the monitor from a different acoustic location.

With two or three simple mixes, it usually isn't a big problem. With a dozen independent monitors, the situation looks completely different. 

What changes with a separate monitor position?

A separate MON position divides two parallel tasks: mix for the audience and mix for the performers.

The monitor engineer is usually located near the stage, allowing him to:

• see the musicians,
• react to gestures,
• quickly change levels,
• control the wedge,
• check IEM,
• collaborate with stage techs.

FOH does not have to interrupt work on the mix for the audience when someone on stage asks for more vocals or less guitar.

This is especially important during a concert.

A musician can report a monitoring issue during a song, and the monitor engineer can respond almost immediately.

With separate positions, both processes occur in parallel.

A broader division of roles is described in the material FOH engineer and monitor engineer – how do their tasks differ during a concert?

The number of monitor mixes and the organization of the position

The more independent mixes, the more sense it makes to have a separate MON console. However, there is no specific number at which the system must automatically be divided.

Not only quantity matters, but also complexity.

For example:

• 4 simple wedge mixes can be easy to handle from FOH,
• 4 stereo IEM with ambience and a large number of sources can be significantly more demanding,
• 8 wedge mixes during a simple concert can be easier than 6 complex IEM mixes.

Each mix may require:

• its own EQ,
• dynamics,
• levels,
• panorama,
• additional processing.

Additionally, there are changes during the concert.

If one person has to control several monitor buses and the mix for the audience at the same time, the issue is no longer the number of available buses on the console, but the amount of attention needed to manage the system.

The need for a separate console is determined by the complexity of the work, and not just the number of outputs.

Wedge, IEM, and large monitor configurations

The type of monitoring has a significant impact on whether a separate position is needed.

Wedges require control:

• gain before feedback,
• stage level,
• mutual influence of monitors and microphones.

With many wedges, the monitor engineer can constantly respond to changes in conditions on stage.

IEMs, on the other hand, are more demanding in terms of individualizing mixes.

With in-ear systems, you often have to manage:

• stereo,
• panorama,
• ambience,
• click,
• talkback,
• communication,
• several very different mixes.

Additionally, there is RF infrastructure.

If the band uses several IEM systems and many wireless microphones, the monitoring position can simultaneously collaborate with the person responsible for RF.

In large productions, the monitor world thus becomes a separate area of work.

More about the types of monitoring is described in the article floor monitors or IEM in-ear systems – what to choose for the stage?

How to split signals between FOH and MON?

FOH and MON must receive the same sources from the stage. This can be solved through an analog or digital split.

Analog split

An analog splitter divides the microphone signal even before the consoles.

The diagram may look like this:

microphone → split → FOH

microphone → split → MON

Each position receives its own path.

The advantage is the high independence of both consoles.

It is also possible to use different FOH and MON platforms, because the split occurs before their inputs.

In more complex systems, the split can also provide a signal to:

• a recorder,
• broadcast,
• additional systems.

However, this solution requires a larger amount of analog infrastructure.

Digital split

In digital systems, FOH and MON can share a stagebox or audio network.

This allows for a reduction in the number of analog connections.

Depending on the specific ecosystem, it is possible to:

• share inputs,
• route channels over the network,
• transfer signals between consoles.

The most important question is: who controls the analog preamp?

If both consoles use the same head amp, the issue of gain sharing arises.

Gain sharing – where can the problem arise?

Gain sharing means a situation where FOH and MON use the same analog preamplifier.

Then changing the gain at one position can also affect the signal level received by the other.

For example, FOH increases the vocal gain by 6 dB because it considers the signal too low.

If the monitor engineer uses the same preamp, the vocal can suddenly increase in all IEM mixes as well.

This can be very unpleasant for the performer.

Therefore, with systems sharing gain, it is necessary to establish in advance:

• who owns the preamps,
• who can change the gain,
• who only uses digital trim.

In many configurations, one person sets the analog gain, while the other console uses digital trim.

This allows both positions to operate independently at the mix level, even though they share the first stage of the path.

When is independent gain needed?

Independent gain is particularly useful when FOH and MON should operate completely independently and no change at one position can affect the other.

This can be significant in cases of:

• large tours,
• multiple IEM mixes,
• different engineers,
• demanding shows,
• transmission or recording using a separate split.

An analog split can provide each console with its own preamp.

In digital systems, it depends on the architecture of the specific platform. Some solutions offer gain compensation or other mechanisms that help reduce the impact of a shared preamp.

Therefore, one should not assume that two digital consoles automatically have completely independent gains just because each has their own screen.

You need to check the actual signal path.

Independence of mixes and independence of analog gain are two different things.

How do the FOH and monitor engineer communicate?

The FOH and monitor engineer should have an independent channel of communication, especially during larger concerts.

This can be:

• talkback,
• intercom,
• dedicated communication channel,
• technical communication system.

This allows for quick transmission of information such as:

• problem with the microphone,
• change of instrument,
• channel failure,
• problem with IEM,
• need to check the source on stage.

The monitor engineer is closer to the performers and stage infrastructure, so they can verify a physical problem more quickly.

FOH, on the other hand, may notice a problem in the mix for the audience, that the performers do not hear in their monitors.

It is also important to establish the scope of responsibility.

If FOH and MON simultaneously start changing gains, routing, or patching without communication, they may hinder each other's work.

When is a separate MON console unnecessary?

A separate monitor console is unnecessary when monitoring is simple and can be conveniently handled from FOH without limiting the work of the engineer.

Typical examples:

• small band,
• 2–4 wedge mixes,
• small stage,
• few changes during the concert,
• no elaborate IEM.

In such a situation, an additional console would mean:

• more equipment,
• more cabling,
• more space,
• additional engineer,
• higher cost.

If it does not provide a real benefit, there is no point in separating the system just because "there are two consoles at large concerts."

It is also worth noting that modern FOH consoles often have enough buses to handle simple monitoring.

The decision should therefore be based on workflow, not on the prestige of the production.

Examples: small club, medium concert, and large stage

It is easiest to see the differences in specific scenarios.

In a small club a four-person band can use four wedge mixes. One FOH console can easily handle the audience and monitors.

In an average concert, the band can have six musicians, some using IEM, some using wedge. If the mixes are stable and do not require many changes, FOH can still manage. If there is a large number of stereo IEM, a separate MON starts to make more sense.

On a large stage, with eight or more performers, many IEM, wedge, sidefills, and an extensive RF monitor world becomes a separate system.

In such a production, separating the positions allows FOH and MON to perform two demanding tasks simultaneously.

In the case of a larger production, preparing a complete FOH and MON setup should include not only two consoles, but also a split, stage boxes, routing, communication, and responsibility for gain.

What should be included in the MON position rider?

The rider should clearly specify the monitor requirements so that the local company knows whether a separate position is needed and how to prepare it.

It is worth providing:

• the number of independent mixes,
• mono or stereo,
• wedge,
• IEM,
• sidefill,
• drum fill,
• the preferred console,
• the required monitor world,
• split,
• RF requirements,
• who brings their own IEM.

If the band has its own monitor engineer, it should also be clearly indicated.

In the rider, it is good to separate:

• the number of physical monitors,
• the number of mixes,
• the number of IEM systems.

The notation "8 monitors" is too ambiguous.

Much better:

4 x wedge mixes + 4 x stereo IEM mixes, separate monitor console required.

This formulated requirement allows the local team to immediately calculate the needed buses, outputs, monitoring systems, and the scope of the position.

The preparation of monitors should also be verified during a professional soundcheck, because that is when each performer confirms their actual monitor mix.

Summary

A separate monitor console is needed when monitoring becomes an independent, complex task. This most often applies to a large number of mixes, stereo IEMs, wedges, sidefills, extensive RF, and situations where musicians require constant support from a separate engineer.

For simple concerts, monitors can easily be run from FOH. Splitting the system just to have two consoles does not give any advantage if one person can comfortably control the entire setup.

In larger productions, however, split, gain sharing, routing, and communication between FOH and MON also become key.A separate monitoring position makes sense when it realistically increases control over the stage and allows both engineers to focus on different audiences: the public and the performers.

Frequently asked questions