
This is my position onstage for the Tsuyoshi Nagabuchi tour, showing my wedge and the ramp with wedges surrounding it. Every day I run out there at soundcheck to make sure I hear enough drums and guitar over the din of the PA.
In-ears or wedges? Here’s how to get the best from both onstage.
I'm often asked about my thoughts on stage monitoring. With the advent of in-ear monitors, it's now common to see stages devoid of any “side fills" and/or wedge (or “foldback") monitors. On many tours—and certainly in bars and casinos—it's become fairly common to see stages with no guitar or bass amps either. Yet some artists, such as Paul McCartney and Gov't Mule, prefer to do things old school with traditional monitors. Let's look at the pros and cons of both in-ear systems and traditional monitors.
Let's just get this out of the way:
In the early days of rock 'n' roll shows, there were no monitors! Early rockers heard their instruments through guitar and bass amps. Vocals and drums were heard through the main PA system. As rock's popularity exploded, crowds grew larger, girls screamed louder, and it became impossible for both musicians and audiences to hear the music.
The First Foldback?
The first use of foldback monitors may have been when the Beatles performed at Atlanta Stadium in 1965. A local soundman, "Duke" Mewborn of Baker Audio, set up a monitoring system that so impressed the Fab Four, they asked him to go on the road with them. (He declined.) Until then, feedback concerns had largely prevented soundmen from facing monitor systems back towards the band and their microphones. Mr. Mewborn used cardioid mics (which reject sound from the back and the sides) to limit feedback. So began the age of foldback monitors.
And so it was—until the '80s, when the first in-ear systems were developed. These are basically headphones—each musician gets a personal mix, much like in a recording studio.
I've used both in-ears and wedges extensively over the last 25 or so years. I've learned that both approaches have advantages and disadvantages, and I might prefer wedges for one situation and in-ears for another. Sometimes, when starting a tour, I'm given a choice, though sometimes there's no option—you must use the system the tour has decided on.
Working with In-Ears
Let's look at in-ears first. On the plus side, custom-molded in-ears act like earplugs, protecting your hearing (as long as you're careful with levels—more on this later). You get a mix, and it stays consistent no matter where you stand onstage. This makes in-ears a great choice if you move around onstage. If your band is touring with its own monitor console, you can also expect consistency, and you shouldn't need to make many changes from show to show. In-ears isolate you somewhat from the varied acoustical environments you encounter in different rooms.
I remember touring with Chris Cornell in 2009, opening for Lenny Kravitz for three weeks in France. For various reasons we weren't able to do a full soundcheck until two weeks into the tour. But because we carried our own digital console and mics, the sound from gig to gig was basically identical to what we'd experienced in rehearsals. Likewise, when we'd perform at big festivals with multiple bands—often "throw and go" situations where soundchecks aren't an option—we could expect our familiar mix when we hit the stage. This would be next to impossible using traditional wedges. Also, singing is much easier with in-ears. Most musicians don't push their voices as hard and sing in tune better with in-ears.
In-ear monitors can be frustrating for guitarists. Most in-ears isolate you almost completely from ambient stage sound, but we're used to hearing our amps onstage.
On the downside, in-ears can be frustrating for guitarists. Most in-ears isolate you almost completely from ambient stage sound, but we're used to hearing our amps onstage. With in-ears you're almost completely reliant on the monitor engineer, and hearing your close-miked amp is not the same experience as hearing it on a wide-open stage. Also, a consistent mix can actually be a disadvantage at times. Have you ever walked toward the drummer during a song so you could hear a bit more hi-hat and a bit less of yourself? This "self mixing" is impossible with in-ears. Also, in-ears isolate you from the crowd and the other musicians, which can make it difficult to talk to your bandmates mid-performance and leave you feeling disconnected from the live experience.
To be happy using in-ears, you need to spend time dialing in a mix—winging it is a bad idea! Working with an experienced monitor engineer is obviously a huge plus. Knowledge of good amp- miking technique is helpful. If possible, set time aside to work with your monitor and FOH engineers. Experiment with a few different mics on your amp in various positions until you get the desired sound in your in-ears (assuming it also works in the PA). Cabinet simulators, such as the Two Notes Torpedo C.A.B., can also be terrific for keeping your in-ear mix consistent from show to show. Using a stereo rig to add a touch of ambience (delay, reverb, or a bit of both) can also make the in-ear experience more natural and enjoyable.
Lastly, be very careful about levels. Using a limiter on your in-ear mix is recommended. (Most in-ear receiver packs have them built-in.) I have tinnitus in my left ear mainly because of repeatedly setting my in-ear level too loud on a past tour.
Working with Foldback Monitors
Using good ol' wedges is actually my preference. The pluses are many: Setup and soundcheck are usually easier. You have less gear to deal with personally, so you can concentrate on playing more. You can hear your amp naturally. You can communicate with the other musicians onstage. And you'll hear the crowd, which tends to make the whole experience more exciting and enjoyable. On the downside, they obviously create more stage volume, which can conflict with the main front-of-house mix. Also, if you move around onstage a lot, it can take a bit of soundchecking to make sure you hear yourself everywhere.
On my current tour with Tsuyoshi Nagabuchi, we have a large ramp that extends off the front of the stage. When I'm all the way at the end, I'm actually in front of the main PA. The sound is quite delayed coming out of the PA, so I have to make sure the wedges all the way down the ramp have plenty of drums and guitars so I can play in time.
Try to keep the stage volume as low as possible. I recommend learning some EQ basics so you can listen to your wedge at soundcheck, identify issues, and ask for changes in the master EQ if necessary. Generally, cutting frequencies is better than boosting. This contributes to a better- sounding stage. It's great if you can listen to your monitor and say, for example, "Can you cut 400 Hz on the whole mix a bit to clean it up?" Your monitor engineer will appreciate your knowledge, and the FOH engineer will appreciate you keeping things under control onstage.
Both approaches are valid, and if you maintain a flexible attitude, you can make either approach work. Until next month, happy monitoring!
[Updated 10/29/21]
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Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
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The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).