
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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Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BlueAdding to the company’s line of premium guitar strapsand accessories, Fairfield Guitar Co. has introduced a new deluxe leather strapdesigned in collaboration with Angela Petrilli.
Based in Los Angeles, Petrilli is well-known to guitar enthusiasts around the world for her online videos. She is one of the video hosts at Norman’s Rare Guitars and has her own YouTube lesson series, the Riff Rundown. She also writes, records and performs with her original band, Angela Petrilli & The Players, and has worked with Gibson, Fender, Martin Guitars, Universal Audio, Guitar Center and Fishman Transducers.
Angela Petrilli's eye-grabbing signature strap is fully hand cut, four inches wide and lightly padded, so it evenly distributes the weight of the instrument on the shoulder and offers superb comfort during extended play. The front side features black "cracked" leather with turquoise triple stitching. The "cracked" treatment on the leather highlights the beautiful natural marks and grain pattern – and it only gets better with age and use.The strap’s back side is black suede for adhesion and added comfort, with the Fairfield Guitar Co. logo and Angela's name stamped in silver foil.
Features include:
- 100% made in the USA
- Hand cut 4” wide leather strap with light padding -- offering extra comfort for longgigs and rehearsals.
- Black suede back side avoids slipping, maintains guitar’s ideal playing position.
- Length is fully adjustable from 45” - 54” and the strap has two holes on thetailpiece for added versatility.
The Fairfield Guitar Co. Angela Petrilli signature strap is available for $150 online at fairfieldguitarco.com.
Tube Amp Doctor has reissued one of the company’s mostsought-after products: the TAD 6L6WGC-STR Blackplate™ small bottle power tube is back inproduction after a 5-year absence.
The TAD 6L6WGC-STR Blackplate™ is the tube that has made TAD so popular with boutiqueamp manufacturers and vintage tone enthusiasts since 2003. A direct replacement for 6L6 and5881 tubes, it’s a remake of the small bottle GE6L6GC and has the same warm lower midrangeand silky top end as the classic GE versions of the 1950s and 1960s. Like the historic RCA5881, this tube features exclusive Blackplate anodes and a side getter.
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ feature TAD’sexclusive black-plate designs, gold grid wire, double getter construction, no-noise filaments and1.2mm thick heavy duty glass. This tube is approximately 80mm high (without pins) and canreplace 5881 and 6L6WGB tubes.
The newly reissued tubes feature the original design and raw materials from old stock, availablein limited quantities as long as the old stock raw materials are available. They’re the perfectchoice for vintage tweed and black panel amps such as the 1960 Bassman, Twin, Showman orSuper Reverb. The complex midrange and sweet heights are a class of its own. The TAD6L6WGC-STR is recommended for classic tone with warm cleans and rich, sweet mids whenpushed – and it’s great for fat jazz or blues tones.
- Delivers classic sound of the 1950s and ‘60s - excellent tone, maximum lifespan
- Tube Type: 6L6/5881
- Socket: 8 Pin(Octal)
- Identical construction, even tighter tolerances with improved production quality
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ are each priced at$48 (does not include VAT) / €46.50 (includes VAT) and are available at tubeampdoctor.com.
In challenging times, sometimes elemental music, like the late Jessie Mae Hemphill’s raucous Mississippi hill country blues, is the best salve. It reminds us of what’s truly essential––musically, culturally, and emotionally. And provides a restorative and safe place, where we can open up, listen, and experience without judgement. And smile.
I’ve been prowling the backroads, juke joints, urban canyons, and VFW halls for more than 40 years, in search of the rawest, most powerful and authentic American music. And among the many things I’ve learned is that what’s more interesting than the music itself is the people who make it.
One of the most interesting people I’ve met is the late Jessie Mae Hemphill. By the time my wife, Laurie Hoffma, and I met Jessie Mae, on a visit to her trailer in Senatobia, Mississippi, she’d had a stroke and retired from performing, but we’d been fortunate to see her years before at the New Orleans Jazz & Heritage festival, where she brought a blues style that was like quiet thunder, rumbling with portent and joy and ache, and all the other stuff that makes us human, sung to her own droning, rocking accompaniment on an old Gibson ES-120T.
To say she was from a musical family is an understatement. Her grandfather, Sid, was twice recorded by Alan Lomax for the Library of Congress. While Sid played fiddle, banjo, guitar, harmonica, keyboards, and more, he was best known as the leader of a fife-and-drum band that made music that spilled directly from Africa’s main artery. Sid was Jessie Mae’s teacher, and she learned well. In fact, you can see her leading her own fife-and-drum group in Robert Mugge’s wonderful documentary Deep Blues(with the late musician and journalist Robert Palmer as on-screen narrator), where she also performs a mournful-but-hypnotic song about betrayal—solo, on guitar—in Junior Kimbrough’s juke joint.
That movie, a 1982 episode of Mr. Rogers’ Neighborhood (on YouTube) where she appears as part of Othar Turner’s Gravel Springs fife-and-drum band, and worldwide festival appearances are as close as Jessie Mae ever got to fame, although that was enough to make her important and influential to Bonnie Raitt, Cat Power, and others. And she made two exceptional albums during her lifetime: 1981’s She-Wolf and 1990’s Feelin’ Good. If you’re unfamiliar with North Mississippi blues, their sound will be a revelation. The style, as Jessie Mae essayed it, is a droning, hypnotic joy that bumps along like a freight train full of happily rattling box cars populated by carefree hobos. Often the songs ride on one chord, but that chord is the only one that’s needed to put the music’s joy and conviction across. Feelin’ Good, in particular, is essential Jessie Mae. Even the songs about heartbreak, like “Go Back To Your Used To Be” and “Shame on You,” have a propulsion dappled with little bends and other 6-string inflections that wrap the listener in a hypnotic web. Listening to Feelin’ Good, it’s easy to disappear in the music and to have all your troubles vanish as well—for at least as long as its 14 songs last.“She made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag.”
The challenge I’ve long issued to people unfamiliar with Jessie Mae’s music is: “Listen to Feelin’ Good and then tell me if you’re not feeling happier, more cheerful, and relaxed.” It truly does, as the old cliché would have it, make your backbone slip and your troubles along with it. Especially uptempo songs like the scrappy title track and the charging “Streamline Train.” There’s also an appealing live 1984 performance of the latter on YouTube, with Jessie Mae decked out in leopard-print pants and vest, playing a tambourine wedged onto her left high-heel shoe––one of her stylish signatures.
Jessie Mae was a complex person, caught between the old-school dilemma of playing “the Devil’s music” and yearning for a spiritual life, sweet as pecan pie with extra molasses but quick to turn mean at any perceived slight. She also spent much of her later years in poverty, in a small trailer with a hole in the floor where mice and other critters got in. And she was as mistrustful of strangers as she was warm once she accepted you into her heart. But watch your step before she did. On our first visit to her home, she made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag and would make Dirty Harry envious.
Happily, she took us into her heart and we took her into ours, helping as much as we could and talking often. She was inspiring, and I wrote a song about her, and even got to perform it for her in her trailer, which was just a little terrifying, since I knew she would not hold back her criticism if she didn't like it. Instead, she giggled like a kid and blushed, and asked if I’d write one more verse about the artifacts she’d gathered while touring around the world.
Jessie Mae died in 2006, at age 82, and, as happens when every great folk artist dies, we lost many songs and stories, and the wisdom of her experience. But you can still get a whiff of all that––if you listen to Feelin’ Good.