The more return paths, the more possibilities you have to run monitor mixes.
Bear in mind that these return paths also must carry the signal to the main loudspeakers.
Another limitation that can be encountered is the amount of pathways that a mixing console has to use as returns to the stage.
A 24 x 4 x 2 console has 24 inputs for instruments, four bus (or group) outputs, and a pair of outputs for the mains.
Bus or group outputs (sometimes called sub-outs) can be used as monitor return outputs.
Four-bus outputs would yield the same combination of possibilities as a four-return snake.
Obviously, more bus outputs equals more possibilities for this type of monitor mix.
Probably the method with the most possibilities is routing monitor mixes with the auxiliary sends. Like buses, auxiliary or aux sends can be used to route monitor mixes.
Although aux sends are used for routing signal to effects processors, they are very useful in running monitor mixes. For aux sends to be useful as monitor mixes, they must be able to be used in what is known as pre-fader mode.
There is usually a button next to the aux send pot on each channel that will allow you to switch between pre and post-fader modes. Keep in mind that for each mono return path, a separate amp at the other end for a power source is needed.
Stereo requires a two-channel power amplifier, or a separate amp for the left and right sides.
Have you checked your equipment for features? To make it easier to describe some basic techniques, we need a typical scenario.
Let’s assume we have a 24-channel input console with four bus outputs and at least four auxiliary sends. Our console is also equipped with a stereo headphone output, so we can listen to each mix separately without listening to (or affecting) the house mix.
Most consoles possess this capability because it is necessary for the engineer to listen to alternate mixes during a performance.
Our snake has 24 channels with four return paths. Let’s also assume that we will be running a stereo house mix. To achieve a good monitor mix, there are several ways to get there. So, let’s take the trip.
Get On The Bus
Each channel has a feature that will allow assignment of its signal to a group or bus out. These assignment groups include the main L/R bus.
The main L/R group will be used to route signal from the console’s main output jacks on the back of the board through the snake’s first two returns. The faders on the console labeled “mains” or “L/R” (or something similar) will control the amount of signal.
The returns from the snake on the stage side will be routed to the stereo power amp (or amps) that powers the main front of house speakers. This way, the signal from the power amps takes the shortest path to the speakers.
