Those “Pesky” Stage Monitors
In amplified pop music productions and some theatrical events, it is necessary to provide stage monitors for performers. When stage monitors are run at high volume levels in enclosed stage areas, sound from these loudspeakers is projected into the rear wall and may be reflected back into the house.
In this scenario even sources that are low in natural output (such as pop vocals) are reinforced in the stage monitors to a point that reflected sound becomes the source for misaligned combined energy in the audience area.
Interestingly, there is also a misalignment problem for those using the stage monitors. The wrap around of the front-of-house loudspeakers can arrive at the performers’ ears at a high enough level that it can effect their perception of things like timing cues.
On a crowded stage, performers also hear leakage from nearby stage monitors and/or stage instrument amplifiers. Almost unconsciously, they ask for more stage monitor level and without the guidance of a seasoned audio crew, this escalation of levels can easily reach a point where there is risk of hearing damage.
Further, the excess stage energy can impact front-of-house sound in two ways: stage monitor sound is reflected out into the house, and it can leak into open microphones. It can sometimes be helpful to delay signal feeding the stage monitors, so that the wrap-around from the front-of-house loudspeakers is in alignment with the stage monitors.
However, one must be cautious not to apply so much delay that the timing of performers is affected.
The switch to in-ear monitoring (IEM) systems has become much more prevalent as musicians, system operators, contractors, consultants and even the more general public have become familiar with this technology.
And, more manufacturers see IEM as a growth market and are offering low-cost, good-quality equipment.
In general, IEM offers the potential to minimize many of the time-based problems that can be caused by stage monitors.
But some issues, such as the aural conflict caused by front-of-house loudspeaker wrap around, will still be a hindrance and therefore remain likely candidates for the corrective measures outlined in this article.
Tom Young is principle consultant for Electroacoustic Design Services in Connecticut, and he has designed hundreds of systems for churches and similar spaces. Tom’s also the moderator of the Church Sound Community Forum here on ProSoundWeb.
