The guitarist, in order to hear himself better, turns his amplifier up. The singers need more monitor level to compete with the rest of the praise band. The cycle of escalating stage volume begins again – reducing the overall sound quality and worship experience, especially in a high-ceilinged, hard surface environment designed for choirs and acoustic instruments.

An article in Millimeter quoted worship leader Craig Sibley as saying “Stage volumes in churches have gotten out of control. In church, suddenly you have a heavy metal concert going on. People are literally leaving the church because of the volume. The minute you introduce drums, the guitarist turns up his volume so he can hear himself, then the vocalist needs more volume. Next thing you know, it’s volume wars, with unfortunate impacts on worshippers.”

Today’s systems are far more advanced and far less expensive than those appearing on stages and in sanctuaries just a few years ago. But if you lack the luxury of a professional sound crew that includes a FOH engineer and a monitor engineer and more likely, rely on a resourceful staff of sound vets and volunteers, we can guide you through some of the basics and help you identify a system for your church.

Who will benefit from a personal monitor?

Personal monitors are not just for vocalists. Drummers with personal monitors tend to play quieter. When the loudest instrument onstage gets quieter, everything else can follow suit.  Some churches take this a step further by using electronic drums that create little, if any, acoustic noise.

Bass, keyboard, and electric guitar can also be taken directly into the mixer if the players are using personal monitors, eliminating the need for onstage amplifiers. The end result is a cleaner, more controlled congregation mix.

Many other uses are possible for personal monitors. Choir directors use them for cues, or to hear the pastor more clearly.

The isolation provided by personal monitors can be of great benefit to organists, especially when they are located at the opposite end of the sanctuary from the choir.  Timing can be problematic due to the often-lengthy delay times caused by this separation. If the choir microphones are fed into a personal monitor system worn by the organist, the time delay is eliminated, and the organist is able to keep in sync with the choir.

For pastors who want a monitor, in-ears are also a viable option. Lavalier and gooseneck microphones are especially prone to feedback issues with a floor monitor due to their increased sensitivity and greater distance from the sound source. A personal monitor eliminated those concerns.

Is wireless necessary or will a hardwired system serve your needs?

Personal monitor systems come in two basic varieties – wireless or hardwired.

A hardwired system requires the performer be tethered to a cable, which is not necessarily a negative. Drummers and keyboard players, who remain stationary, or even back-up singers, can take advantage of the lower cost and greater simplicity of a hardwired personal monitor system.

Advantage: Hardwired systems also work worldwide without the hassle of finding clear frequencies or dealing with frequency coordination  with wireless microphone or intercom systems. And if several performers require the same mix, hardwired systems can be daisy-chained together without experiencing significant signal loss, if the input impedance is sufficiently high to allow multiple systems to be connected to a single output with Y-cables.

Wireless equipment requires special consideration and attention to detail.  But the advantages many times outweigh the increased cost and complexity.

Advantage: One of the main benefits of personal monitors is a consistent mix no matter where you stand; going wireless allows you to exploit this advantage to its fullest extent. And when several performers require the same mix, hooking them up is even easier. You can use as many wireless receivers as you need to monitor the same mix with no adverse effects. Plus, there aren’t any cables to trip on!

How many mixes do you need?

The answer to this question depends on how many people are in your band, and their ability to agree upon what they want to hear in the monitors.

One Mix for All In a perfect world, everyone wants to listen to the same mix, so the answer to this question is: one mix. Of course this defeats the primary benefit of “personal” monitors (each performer hearing himself).

Vocals and Instruments An inexpensive configuration uses two mixes; one consisting of vocals, the other of instruments. Using a system that features dual-mono operation, the performers individually choose how much of each mix they wish to hear (see Figure 1). This is a cost-effective way to get into personal monitors, but it still requires a fairly good degree of cooperation among band members.

Drummer Separate Another scenario gives the drummer a separate mix (Figure 2 below). This option works well for two reasons: Drummers, in general, want to hear considerably more drums in the monitors than other band members, and drums can be heard acoustically, especially in bands that perform on small stages. Drums may not even be necessary in the other mixes.

The “More Me” Syndrome We’re assuming that the vocalists are able to agree on a mix of the vocal microphones. While forcing singers to share the same mix encourages a good vocal “blend”, this theory often falls apart in practice.

Separating out the lead vocalist to an individual mix will address this issue. Here’s how to accomplish it in three mixes:

Place some of the backup vocal mics in the “instruments” mix, and adjust the “vocal” mix to satisfy the lead singer, even if that means adding some instruments to the “vocal” mix. This provides:

•  An individual mix for the lead singer

•  A mix for the guitarist and keyboardist that includes their vocals, and

•  A drum mix (The bass player can drop in here, too)

How many mixes are available from your front of house console?

Monitor mixes are typically created using auxiliary (AUX) sends from a mixer, either the front-of-house console or a dedicated monitor console.

A typical small-format console will have at least four auxiliary sends. Whether or not all these are all available for monitors is another matter. AUX sends are also used for effects.  Available sends are the final determinate for the number of possible monitor mixes.

If your answer to our first question (How Many Mixes?) is greater than the answer to this question (How Many Mixes Are Available from the Front of House Console?), you have two options:

Stereo or mono?

Most personal monitor systems allow for monitoring in either stereo or mono. At first glance, stereo may seem the obvious choice, since we hear in stereo, and everything else these days features stereo sound.

Stereo requires two channels of audio. What this means for personal monitor users is two sends are required to create a stereo monitor mix – twice as many as it takes to do a mono mix (see Figure 3). Stereo monitoring can quickly devour auxiliary sends.  If your mixer only has four sends, you can only create two stereo mixes.

While not quite as “realistic” as stereo monitoring, mono allows more mixes from a smaller mixing console – and sometimes fewer transmitters. If you only need one mono mix, these mono-only systems can save you money.

Some stereo transmitters can be operated in a “dual-mono” mode, which provides two mono mixes instead of one stereo. This can be a great way to save money. If you only need one mono mix, these mono-only systems can save you money.

How many components will you need?

After you have answered these questions, plug the numbers into the following equations to determine exactly how many of each component you will need.

Good earphones are an essential component

The key to successful personal monitoring lies in the quality of the earphones. All the premium components in the monitoring signal path will be rendered ineffective by a low quality earphone.  There are three types:

Earbuds While inexpensive, the kind that came with your MP3 player have the poorest isolation and are not designed to withstand the rigors of a working musician’s environment.

Custom molded earphones offer exceptional sound quality and isolation, a considerably higher price tag, and are difficult to test before buying since they’re made specifically for one person’s ears by an audiologist.

Universal Earphones combine the superior sound quality and isolation of the custom molded designs with the versatility, “out-of-the-box” readiness and affordable cost of the consumer phones. Interchangeable sleeves of foam or flexible rubber are used to adapt the earphone to the performer’s ear canal.

Personal Monitor mixers are an optional component Personal monitoring gives the performer an unprecedented level of control. But for the performer who desires more than simple volume and pan operation, a personal monitor mixer can be added.

These are especially useful for praise teams that either have a limited number of available auxiliary sends on the console, or lack a monitor engineer to operate the console.  A small monitor mixer allows the vocalists or players to customize their mixes themselves to hear exactly what they desire.

Theoretically, any mixer can double as a personal monitor mixer, but most lack one key feature; the input signals needed to find their way to the main (FOH) mixer. Large sound systems with separate monitor consoles use transformer-isolated splitters to send the signals to two places, but these are prohibitively expensive for most worship teams. Y-cables can be used to split microphone signals, but they can get messy and are somewhat unreliable.

A few manufacturers have introduced mixers with integrated microphone splitters. These can range from basic four channel mixers with volume and pan controls to larger, more fully featured monitor console.

And one more thing … make that two more things

The pain of change is still a factor.  Your praise team may have some difficulty adapting to in-ears after years of performing in front of stage monitors.

Another concern is cost.  A good wireless system – including a transmitter, receiver and earphones – can cost anywhere from several hundred to several thousand dollars.  One way to get started is to introduce personal monitoring gradually – one member of your praise team at a time.  You’ll eliminate at least one floor monitor, contributing to a quieter stage and give others performers (at rehearsal) a chance to try them out and experience the difference.

Wireless Systems

• Axient Wireless Management Network
  2012 NAMM “Best in Show—This Year’s Hottest Products” Gotta Stock It Award
• PGX Digital Wireless
  2011 TEC Award for Outstanding Technical Achievement, Wireless Technology
  2011 Music & Sound Retailer Music & Sound Award for Best Wireless System
• ULX-D Digital Wireless
  2012 Pro Sound Network Best of Show Awards: NAMM Edition

Personal Monitoring

• PSM 1000 Personal Monitor System
  2011 Music & Sound Retailer Music & Sound Award for Product of the Year
  2012 ProSoundWeb and Live Sound International  Readers’ Choice Award

Wired Microphones

• Beta 181 Ultra-Compact Side-Address Microphone
  2011 TEC Award for Outstanding Technical Achievement, Microphone Technology / Sound Reinforcement
  2011 Music & Sound Retailer Music & Sound Award for Best Wired Microphone
• KSM42 Large Dual-Diaphragm Vocal Microphone
  2012 ProSoundWeb and Live Sound International  Readers’ Choice Award for Best Product, Condenser Microphones
• SM58 Vocal Microphone
  2011 Musical Merchandise Review Dealer’s Choice Awards for Microphone Line of the Year

Earphones

• SE215 Sound Isolating Earphones
  2011 PCMag.com Best of the Year Award

Okay, success celebrated. Back to the grindstone.

The ability to hear your live performance onstage, and adjust it accordingly, is one of the hallmarks of professional musicianship. When you can hear yourself, you’re more likely to stay in tune and in the groove. Today, there are two ways to monitor – stage or floor monitors (also called wedges) and in-ear personal monitoring systems.

Introducing the Wedge

Back in the 1960s, someone discovered that musicians could hear what they were playing onstage by using a version of the FOH system with the speakers turned around and facing them. This eventually evolved into the now ubiquitous floor wedge monitor that offered a lower profile and could be placed directly in front of the performer. The era of the floor monitor (or wedge) was born.

Just about every musician and sound engineer has plenty of experience with floor monitors and for good reason: they’re everywhere and what everyone is used to using. But as far as advantages go, that’s about it, other than providing a place for the guitar player to put his foot during a big solo.

Now the disadvantages: floor monitors are the primary cause of onstage feedback. They’re also the primary cause of musicians’ back problems and overcrowded vans. Unless you have a couple of loyal roadies, carrying those 40-lb. behemoths will get old in a hurry.

Finally – and this won’t be the last time you hear this from us – floor monitors increase the risk of damage to your hearing. Most musicians like to turn their monitors up to hear themselves better, which, if done too much and too often, can lead to serious and permanent hearing loss.

Personal Monitoring

The in-ear personal monitor is without a doubt the more effective of the two types. Developed in the 1980s and once thought to be affordable only to globetrotting, arena rock acts, technological advancements and wider usage have brought prices down and have made in-ear personal monitoring systems accessible to just about any performer.

In-ear personal monitors direct the sound precisely where it needs to go – in the ear – compared to loudspeakers that direct sound to an onstage sweet spot, directly in front of the musician. They also offer:

• Virtually no chance of feedback
• A better house mix, since stage monitors aren’t there to bleed into the microphones
• Greater mobility
• Reduced vocal strain – singers aren’t competing with the sound coming from floor wedges
• Cleaner, less cluttered stage
• Lower stage volume – protecting your hearing
• Portability (most systems weigh about as much as your old Walkman®). A single rack of equipment, handling the monitoring needs of the entire band, can replace the heavy amplifiers and speakers in a monitor system.
• Artist control of mix and volume; better sound quality and stereo im aging

Earphones

A critical component of any personal monitor system, make sure you don’t underestimate the importance of the sleeve. It’s essential to getting the most of the personal monitoring experience.

Made from rubber or foam, these “sleeves’ attach to the end of the earphone and are the only part of the system that makes direct contact with your ear. For this reason, they must be comfortable, secure and isolate correctly.

Some systems come with a collection of these sleeves in various sizes. Since everyone’s ears are different, finding the right sleeve is one of the most important aspects of getting the best sound from your system.

Consider these tips when selecting earphones:

• Select earphones that come with a number of sleeve options such as foam (black foam sleeves, pictured right) or rubber, as well as different sizes – small, medium and large. Make sure everyone who will use earphones try on all the various sizes and types to get the best fit. Foam sleeves often provide superior sound isolation.
• Consider custom-molded sleeves. Talk to your audiologist or contact a company that can create a custom version from a mold of your ear canal. custom-made ear sleeves are generally made of silicone and start at about $150.00, depending on the provider.

Optional Component:

The Personal Monitor Mixer
This type of mixer gives the user control over his or her mix without affecting the signal path of the main house mixer. That means the contro l is onstage instead of relying on the person at the soundboard. (pictured right: Shure P4M Personal Monitor Mixer)

Once set, the personal monitor mixer recalls these setting, so that you can achieve the same mix at every performance.

How to Select the Right System:

Ask Yourself These Questions
Wired or wireless? One system or several? Will an entry level personal monitoring system serve your need or will you need a more advanced one? You can start to get at some of these critical purchase decisions by answering these questions.

1. How many people will be using in-ear personal monitors?
While lead singers and drummers are two of the most obvious choices, everyone onstage benefits from the ability to hear their own sounds without the “volume war’ associates with floor monitors.

Ideally, everyone in the band will be in-ear, not only from the standpoint of lowering stage volume and improving the performance, but this isn’t always possible. Cost is a real consideration, and so is the pain of change. Personal monitoring is a new concept to some musicians (more about that later).

Tip: Maybe the best place to start is with the band members who are usually the ‘volume war’ combatants.

2. Will users be stationary or will they want to move freely around the stage?
One you’ve determined who is going to use in-ear personal monitoring, you’re ready for the wired or wireless decision. Wired systems are less expensive and may be sufficient for a drummer who remains seated, but a wireless system may be required for a singer or lead guitar player. It’s hard to imagine Mick Jagger or Keith Richards tethered to a cord or cable. Tip: Consider using both wired and wireless systems, based on your lineup and their needs.

3. Can band members share monitor mixers or will they need to have their own?
How many mixes are you using now? Will individual personal monitor users need to have a personal mix or can they share an overall mix?

Shared Mix
Everyone sharing a monitor mix will be listening to exactly the same mix. As long as they all agree, sharing a mix is the easiest and least expensive way to provide in-ear monitoring for a group.

Tip: When two or more band members share the same mix, they each need a bodypack receiver. But … you’ll only need one wireless transmitter to send the mix to them.

Personal Mix
Lead singers, guitar players and drummers often want to be able to isolate their own sounds from the rest of the band or add unique sounds (such as a click track for the drummer). In these cases, the ability to create a personal mix is preferable and worth the added cost and effort.

Tip: If your mixing console doesn’t distribute enough mixes (auxes) to support all the mixes you need, consider sharing mixes, using personal monitor mixers, adding a Shure Auxpander® which expands the auxiliary output capabilities of any standard mixing consol), investing in a dedicated monitor mixer or even upgrading your console.

4. Mono or stereo?
In mono, both earphones reproduce the same audio. It’s not ideal, but it’s a more economical option.

In stereo, the earphone product the most accurate monitor sounds. These include a Left a nd a Right signal and enable lower listening levels by separating sounds spatially instead of by volume. If you can afford the stereo that most systems provide, go for it.

There is also dual-mono in which you get a different mono mix in each ear, or MixMode®, a Shure solution, that allows you to hear two separate signals in both ears. With it, you can control the blend or the relative volume levels of these two mixes with the balance control.

Tip: Make sure that you present mixing console has the ability to transmit a stereo mix (stereo aux) before choosing this feature.

What’s your budget?
Here, you will need to separate fantasy from reality. The good news is that with the increased popularity of personal monitoring systems, there are an ever-expanding variety of options to meet almost any budget. The Who, INXS, Wyclef Jean and a host of megastars use the PSM®700 personal monitor system, but the PSM®200 may be just right for you.

Hearing Conservation & Personal Monitor Systems

One of the primary benefits of in-ear personal monitoring, right up there with being able to hear your own performance, is a measure of protection against noise-induced hearing loss.

Gig after gig exposure to stage monitors producing SPLs of 85 decibels and higher can produce permanent hearing loss. A University of North Texas study estimates 30-50% of all performing musicians – and this includes classical musicians – suffer from it. Here are their tips:

Tips for short-term prevention of hearing loss

• Listen to music at moderate loudness levels
• Reduce exposure time to sound levels above 85 decibels
• Reduce repeated or cumulative exposure
• Protect yourself from exposure to hazardous sound environments
• Use ear protection in noisy environments
• Rest your ears between exposures to loud sounds

Tips for long-term prevention of hearing loss

• Get a baseline comprehensive audiological evaluation
• Follow up with annual checkups
• Know the symptoms of noise-induced hearing loss:
• Temporary threshold shifts
• Ear discomfort after exposure to loud sounds
• Ringing and buzzing in the ears
• Difficulty hearing in noisy environments.

How does this relate to the use of in-ear personal monitoring systems? Just this – the hearing preservation benefit that you will receive by saving your ears from blasting stage monitors will be completely erased by setting the volume of your personal monitor system too high.

Shure is a leading proponent of hearing conservation. For information about the company’s Listen Safe initiatives, click here.

Source: The Texas Center for Music and Medicine, The University of North Texas.