618:. Raise the level of the monitor until it just begins to feedback, lower by 3 db or so. Now sweep the frequency of the filter until the monitor feeds back. Sweep it back and forth over the feedback frequency to find the center frequency by finding the lower and upper frequency of the ring and setting it to the middle between these two frequencies. You may need to drop the gain on the frequency if the feedback is too loud. You repeat the process for the next and the next feedback frequencies. You may discover that the order of the frequencies does not increase left to right. For example the sequence might be 250 Hz, 800 Hz, 500 Hz, 2.6 kHz, and 1.7 kHz.
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547:. Acoustic feedback occurs when the time delay between the acoustic input of a microphone and the output of a monitor speaker is a multiple of the period of a frequency. When this occurs the acoustic output of the speaker is picked up by the microphone and amplified again by the monitor speaker. This is a positive feedback loop that reinforces the specific frequency, causing the speaker to howl or squeal. Equalization is used to attenuate the specific frequency that is feeding back.
226:, full-range speaker cabinets, and high-range horns. A coffeehouse or small bar where singers perform while accompanying themselves on acoustic guitar may have a relatively small, low-powered PA system, such as a pair of two 200 watt powered speakers. A large club may use several power amplifiers to provide 1000 to 2000 watts of power to the main speakers. An outdoor rock concert may use large racks of a number of power amplifiers to provide 10,000 or more watts.
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vocalist can have a mix that forefronts their vocals, the backup singers can have a mix that emphasizes their backup vocals and the rhythm section members can have a mix that emphasizes the bass and drums. In addition, there may be side-fill monitors to provide sound for areas on stage not covered by the floor wedges.
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In the early 1960s, many pop and rock concerts were performed without monitor speakers. In the early 1960s, PA systems were typically low-powered units that could only be used for the vocals. The PA systems during this era were not used to amplify the electric instruments on stage; each performer was
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In-ear monitors greatly reduce on-stage volume by eliminating the need for on-stage monitor wedges. This reduced on-stage volume makes it easier for the front-of-house audio engineer to get a good sound for the audience. In-ear monitors also make audio feedback howls much less likely since there are
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are typically used by the audio engineer to listen to specific channels or to listen to the entire mix. While an amplified monitor speaker can also be used for this purpose, the high sound volumes in many club settings make hardshell headphones a better choice because the hard plastic shell and foam
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The process of using a parametric equalizer is different from using a graphic equalizer. When using a parametric equalizer the first step is to choose the band to use. Normally the first feedback frequency is in the lower mid-range so the second band would be a good choice. If the feedback frequency
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affecting several octaves to a narrow Q affecting less than an octave, and the level of the band can be adjusted. Each band may have a different frequency sweep range, with the left or lower bands sweeping the lower octaves, the middle bands sweeping the middle octaves, and the right or higher bands
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One of the advantages of graphic equalizers is their simplicity of use. When ringing the monitors, a person can boost then restore each frequency band until the ringing starts. This helps you identify the feedback frequency. A drawback of graphic equalizers is the fixed frequency bands. Feedback
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the monitors. To eliminate feedback, the monitor's level is increased until it starts to feed back. The feedback frequency is identified either by ear or by a frequency analyzer. Equalization is used to reduce that frequency. The monitor level is again increased until the next frequency starts to
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in a cabinet. Monitor speakers have numerous features that facilitate their transportation and protection, including handles, metal corner protectors, sturdy felt covering or paint and a metal grille to protect the speaker. Monitor speakers are normally heavy-duty speakers that can accept high input
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so that changes to the FOH levels do not significantly affect what the performers hear on stage. The monitor mixes drive dedicated monitor equalizers and signal processors which in turn drive dedicated monitor amplifiers that power the monitor speakers. The FOH mixer is operated by an audio engineer
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In a large club where rock bands play, the monitor system may use racks of power amplifiers and four to six monitor speakers to provide 500 to 1000 watts of power to the monitor speakers. At an outdoor rock concert, there may be several thousand watts of power going to a complex monitor system that
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reflections bouncing from the rear wall of the venue. The naturally reflected sound is delayed and distorted, which could, for example, cause the singer to sing out of time with the band. In situations with poor or absent foldback mixes, vocalists may end up singing off-tune or out of time with the
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Drummers typically use a monitor speaker that is capable of loud bass reproduction, so that they can monitor their bass drum. Since the drums are already very loud, having a subwoofer producing a high sound pressure level can raise the overall stage volumes to uncomfortable levels for the drummer.
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One drawback of in-ear monitors is that the singers and musicians cannot hear on-stage comments spoken away from a microphone (e.g., the bandleader turning away from the vocal mic and looking at the band and calling for an impromptu repetition of the chorus) or sounds from the audience. This issue
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An innovation first used in recording studios is the use of small mixers placed next to each performer so that they can adjust their own mix. The mixers are driven by sub-mixes from the FOH console with each sub-mix having a subset of the inputs on stage. For example, mix 1 vocals, mix 2 guitars,
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The simplest monitor system is a speaker pointed at the performer fed from the FOH mix. This might be used by one or two performers in a coffee house, small club, or small house of worship. In this setting, a two-channel powered mixer might be used with one channel powering the main speakers and
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From the late 1960s to the 1980s, most monitor speaker cabinets used an external power amplifier. In the 1990s and 2000s, clubs increasingly used powered monitors, which contain an integrated power amplifier. Another trend of the 2000s was the blurring of the lines between monitor speaker cabinets
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Larger clubs and concert venues typically use a more complex type of monitor system which has two or three different monitor speakers and mixes for the different performers, e.g., vocalists and instrumentalists. Each monitor mix contains a blend of different vocal and instruments, and an amplified
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The monitor system reproduces the sounds of the performance and directs them towards the onstage performers (typically using wedge-shaped monitor speaker cabinets), to help them hear the instruments and vocals. A separately mixed signal is often routed to the foldback speaker to allow musicians to
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has been used when referring to one or more video monitors facing a stage, in the same manner as an audio foldback monitor. The video monitor allows a person on stage to see what is behind them on screen, to see distant parties during a video conference, or to read notes or sing lyrics to a song.
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If the amplifier is not built into the monitor speaker enclosure, one or more external amplifiers are required to power the monitor system speakers. Robust commercial amplifiers are used here. In a simple monitor system, a single amplifier may drive all monitor speakers. In more complex scenarios
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There are two types of monitors: passive monitors consist of a loudspeaker and horn in a cabinet and must be plugged into an external power amplifier; active monitors have a loudspeaker, horn and a power amplifier in a single cabinet, which means the signal from the mixing console can be plugged
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This splitter may be part of the microphone snake or it may be built into the monitor mixer. With a separate monitor system, there may be 8, 12, or more separate monitor mixes, typically one per performer. Each monitor mix contains a blend of different vocals and instruments. This way the lead
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The introduction of monitor speakers made it much easier for performers to hear their singing and playing on stage, which helped to improve the quality of live performances. A singer who has a good monitor system does not have to strain their voice to try to be heard. Monitor systems also helped
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The monitor system in a coffeehouse or singer-songwriter stage for a small bar may be a single 100 watt powered monitor wedge. In the smallest PA systems, the performer may set their own main and monitor sound levels with a simple powered mixing console. The simplest monitor systems consist of a
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as the front-of-house mix. A stadium rock concert may use a large number of monitor wedges and a separate mixing console and engineer on or beside the stage for the monitors. In the most sophisticated and expensive monitor set-ups, each onstage performer can ask the sound engineer for a separate
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These inputs can then be mixed on the monitor mixer, setting whatever level is required for each separate input e.g. more guitar, less bass, more lead vocals, less backing vocals, thus providing a bespoke mix for whoever is connected to the sub-mixer. The number of inputs on the sub-mixer will
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The advantage of using parametric equalizers in a monitor system is that the filter can be exactly adjusted to the specific feedback frequency, and the bandwidth of the filter can be set to be very narrow so the adjustment affects as little of the frequency band as possible. This leads to more
498:. The angle is typically 30 degrees which points the speaker back and up towards the performer. These speakers may also be single small speakers which are sometimes mounted on a microphone stand to get them closer to the performers' ears. More often they are heavy-duty two-way systems with a
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Monitor mixers provide musicians with a stage mix. The mix can be controlled by a sound engineer or by the musicians, depending on the monitor mixer's capabilities and the amount of control required. The stage mix consists of whatever vocal and instrument sources are connected to the sound
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With these systems, singers could only hear their vocals by listening to the reflected sound from the audience-facing front-of-house speakers. This was not an effective way to hear one's vocals because of the associated delay which made it hard to sing in rhythm with the band and in tune.
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mix 3 keyboards, and mix 4 drums and bass. The performers can then adjust these four groups to their own preferences. If the balance between several vocals or the balance between bass and drums needed to be changed, the sound engineer would have to change it at the main mixing console.
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graphic equalizer. Since most of the time, monitor equalization involves the removal of frequencies, a cut-only equalizer can give you more precise level adjustments since the entire travel of the slider is used for reducing the level rather than wasting half the travel for boost.
757:. They connect to an amplifier like a normal subwoofer. They can be attached to a large flat surface (for instance a floor or platform) to create a large low-frequency conduction area, although the transmission of low frequencies through the feet isn't as efficient as the seat.
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The use of performer-facing loudspeakers for foldback or monitoring may have been developed independently by sound engineers in different cities who were trying to resolve this problem. The earliest recorded instance that a loudspeaker was used for foldback (monitoring) was for
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or Q of each band can either be 1/3, 2/3 or one octave, giving a 31-band, 15-band, or 10-band for a graphic equalizer that covers the audio frequency range. The narrower the band the more precisely the feedback frequency can be isolated. Normally 31-band equalizers are used.
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feed back and that frequency is eliminated. The process is repeated until feedback occurs at a previously suppressed frequency or at multiple frequencies simultaneously. If multiple monitor mixes are being used, the process has to be repeated for each separate monitor mix.
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Side-fill monitors are monitors that sit upright on the side of the stage and are used to provide sound to the areas of the stage not covered by the floor monitors. Side fill monitors are typically standard FOH speakers. A special case of a side fill monitor is a
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used to adjust the level of each frequency band – the positions of the sliders side by side reads out as a frequency response graph. Graphic equalizers are fixed frequency equalizers; The center frequency of each band can not be adjusted. The
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members can have a mix which emphasizes the bass and drums. In most clubs and larger venues, sound engineers and technicians control the mixing consoles for the main and monitor systems, adjusting the tone, sound levels, and overall volume of the performance.
707:-style headphone monitors. These in-ear monitors allow musicians to hear their voice and the other instruments with a clearer, more intelligible sound because the molded in-ear headphone design blocks out on-stage noise. While some in-ear monitors are
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Some musicians may prefer a bespoke in-ear monitor mix. This provides a more musician-controllable mix and provides them exactly what they want. This can be achieved by using a separate mixing console (the monitor mixer) and using either a split
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The front-of-house system, which provides the amplified sound for the audience, will typically use a number of powerful amplifiers driving a range of large, heavy-duty loudspeaker cabinets including low-frequency speaker cabinets called
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A variation on this is to add an additional input to each mixer which is the performer's instrument or vocal microphone so that each performer can add more of their performance to the other sub-mixes. This approach has been called
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This small venue's stage shows an example of a typical monitor speaker set-up: there are three "wedge" monitors directed towards the area of the stage where singers and instrumentalists will be performing. The drummer has both a
601:. A parametric equalizer does not use fixed frequency bands. Instead, each frequency band can be adjusted. The center frequency can be adjusted over a several-octave range. The bandwidth of each band can be adjusted from a wide
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to monitor the timing of their bass drum. The tactile transducers are attached to the drummer's stool (throne) and the vibrations of the driver are transmitted to the body and then on to the ear in a manner similar to
342:, chief engineer at McCune Sound, designed the first monitor mixer designed expressly for stage monitoring. He also designed the first stage monitor loudspeaker that had two different listening angles.
526:. Drum fills are typically large 2- or 3-way speakers with one or more large woofers capable of extremely high volumes to help drummers hear other band members over the acoustic sound of their drums.
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and a high-frequency horn. A small floor monitor might use a 12" woofer with an integrated high-frequency horn or driver combination. A large floor monitor might use one or two 15" woofers and a
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speaker is placed in front of the performer. This way the lead vocalist can have a mix that forefronts their vocals, the backup singers can have a mix that emphasizes their backup vocals and the
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is in the upper mid-range, then the 3rd or 4th band would be a good choice. Next adjust the Q of the filter to be as narrow as possible and boost the frequency by 6 to 9
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precise feedback elimination with less coloring of the sound. For this reason, many professionals recommend using parametric equalizers over graphic equalizers for monitors.
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rhythm section instrumentalists hear each other and thus improve their playing together even on a huge stage (e.g., at a stadium rock concert) with the musicians far apart.
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determine the number of instruments and vocals that can be sub-mixed and the number of outputs determines how many musicians can be provided with a bespoke monitor mix.
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hear their performance as the audience hears it or in a way that helps improve their performance. More frequently, major professional bands and singers often use small
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can be rectified by placing microphones in front of the stage and mixing those into the monitor mix so that the band can hear the audience in their in-ear monitors.
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and regular speaker cabinets; many companies began selling wedge-shaped full-range speakers intended to be used for either monitors or main public address purposes.
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monitors. This design allows amplifiers with the right amount of power to be custom made for the speakers. Active monitors are typically bi-amped and have an
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monitors. F.B. "Duke" Mewborn of
Atlanta's Baker Audio used left and right arrays of Altec loudspeakers to cover the audience and to serve sidefill duties for
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A notch filter is a semi-parametric equalizer where the bandwidth is set very narrow, a 1/6 an octave or less and is a cut-only filter. An example is a
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A common monitor setup for smaller venues is one that uses one or more separate auxiliary mixes or sub-mixes on the FOH mixing console. These mixes are
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Stage monitors plugged with jack and XLR cables, receiving the sound from the main console. In the 2010s and 2020s, stage monitors are generally powered.
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sweeping the higher octaves. There is normally a lot of overlap between bands. Parametric equalizers typically have 3 to 5 filtering bands per channel.
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A recent trend has been to build the amplifier and associated sound processing equipment into the monitor speaker enclosure. These monitors are called
34:
A JBL floor monitor speaker cabinet with a 12" woofer and a "bullet" tweeter. Typically, the speaker would be covered with a metal grille to protect it.
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may have a single monitor speaker on stage so that the lead vocalist can hear their singing and the signal for the monitor may be produced on the same
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rarely occurs on the exact center of the frequency band so two adjacent frequency bands may have to be reduced in parallel to eliminate the feedback.
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pioneered the concept of a speaker on the floor angled up at the performer with directional microphones to allow louder volumes with less feedback.
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where there are multiple monitor mixes, additional power is required or speakers are bi-amped, multiple amplifiers or amplifier channels are used.
366:, amplifiers, and monitor speakers on stage pointing at the performers. Microphones and direct inputs are shared with the front-of-house system.
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cabinet (for monitoring the bass drum and the electric bass) and a "wedge"-style cabinet for monitoring vocals and mid- or high-frequency sounds.
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Floor monitors are compact speakers with an angled back that is laid on the floor. This angled shape gives the floor monitor its other name of
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436:. This allows the distribution of most or all of the input sources to each performer's mixer, giving them complete control over their mix.
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is used to amplify a performance for the audience. The monitor system allows musicians to hear themselves and fellow band members clearly.
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with custom equalization to tune the monitor to have a flat frequency response. One of the first examples of this type of monitor is the
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separate from the front-of-house system. This mix typically highlights the vocals and acoustic instruments so they can be heard over the
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rather than onstage monitor speakers. The two systems usually share microphones and direct inputs using a splitter microphone snake.
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Early stage monitors were simply speakers on each side of the stage pointed at the performers driven by the same mix as the FOH;
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cushions help to block the room noise. Some performers may use headphones as monitors, such as drummers in pop music bands.
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Larger venues will use a separate system for monitors with its own mixer and monitor sound engineer. In this case, a
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one channel powering the monitor speaker. The mixer would be on stage with the performers setting their own levels.
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single monitor speaker for the lead vocalist which amplifies their singing voice so that they can hear it clearly.
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splitters cables to allow the required instrument or vocal inputs, to feed both the FOH mixer and monitor mixer.
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A picture of in-ear monitors which are used by on-stage performers. This particular model is the
Etymotic ER-4S.
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system. Each system consists of a mixing console, sound processing equipment, power amplifiers, and speakers.
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This article is about onstage monitor speakers for live performances. For studio reference loudspeakers, see
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Without a foldback system, the sound that on-stage performers would hear from front of house would be the
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expected to bring a powerful amplifier and speaker system to make their electric guitar, electric bass,
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designs, some companies also sell custom-made in-ear monitors, which require a fitting by an
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during popular music concerts in mid- to large-size venues, there are typically two complete
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With advances in digital technology, it is now possible to transmit multiple audio channels
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with an active crossover and separate amplifiers for the woofer and high-frequency driver.
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In the 2000s, some bands and singers, typically touring professionals, began using small
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through a sound reinforcement system. With the exception of the smallest venues, such as
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used in PAs at the time rarely had auxiliary send mixes. Today these would be called
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who must mix for the audience and also tend to the needs of the musicians on stage.
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power to create high volumes and withstand extreme electrical and physical abuse.
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or electric piano loud enough to hear on stage and to fill the venue with sound.
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Monitor speakers need their own equalization primarily to reduce or eliminate
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Monitor speakers come in two forms: floor monitors and side-fill monitors.
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can choose to hear mostly their voice in the monitor in front of them and the
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problems are common when the performer turns their microphone up too loud.
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715:. Custom-made in-ear monitors provide an exact fit for a performer's ear.
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Basic Live Sound
Reinforcement: A Practical Guide for Starting Live Audio
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includes wedge-shaped cabinets for vocalists and larger cabinets called
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Monitor speakers often include a single full-range loudspeaker and a
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can choose to hear mostly the bassist and drummer in their monitor.
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cabinets to help the musicians to hear their playing and singing.
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A rock band stage clearly shows the stage monitors (Italy, 2013).
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http://www.sweetwater.com/expert-center/glossary/t--StageMonitor
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no monitor speakers. The lower on-stage volume may lead to less
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JBL-UREI Electronics/UREI-562.pdf UREI 562 Feedback
Suppressor
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Monitor systems have a range of sizes and complexity. A small
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The process of eliminating feedback in the monitor is called
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Home
Theater Hacks: 100 Industrial-Strength Tips & Tools
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Meyer Sound
Laboratories UM-1P Narrow Coverage Stage Monitor
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Ashly SC-68 Parametric Notch Filter
Operating Instructions
843:, as they are generally set up for individual performers.
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A second type of equalizer used in monitor systems are
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http://www.jblpro.com/pub/obsolete/Cabaret_Series1.pdf
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TC Electronic TC1140/2240 PARAMETRIC EQUALIZER PREAMP
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http://www.meyersound.com/products/ultraseries/um-1p/
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Innovations credited to Bill include the following...
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Since much very low bass is felt, some drummers use
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Distributed monitor mixers are most successful with
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monitor mix for separate monitors. For example, the
443:or in-ear monitors. If monitor speakers are used,
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1265:Product Review - ButtKicker 2 Low Frequency Shaker
563:A common equalizer used in monitor systems is the
358:The monitor system consists of the monitor mixer,
1220:ExtremeTech, September 8, 2005. Jeremy Atkinson.
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1208:http://www.ashly.com/images/relics/man-sc68.pdf
1263:Home Theater Hi-Fi, June 2002. Evan Upchurch.
408:between the monitor mixer and the FOH mixer.
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799:. Unsourced material may be challenged and
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1040:. Taylor & Francis. pp. 421–423.
1036:Biederman, Raven; Pattison, Penny (2013).
985:Montgomery, Elizabeth (February 7, 2014).
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580:A variation on the graphic equalizer is a
819:Learn how and when to remove this message
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1196:http://www.jblproservice.com/pdf/Vintage
1085:http://www.eaw.com/products/SM159zi.html
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965:Another Sensational Evening With Judy!
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400:is used to split the signal from the
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967:(Reference only for date of concert)
797:adding citations to reliable sources
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469:straight into the monitor speaker.
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23:. For other uses of "foldback", see
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284:on September 13, 1961; provided by
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1234:O'Reilly, 2004. Brett McLaughlin.
987:"When Beatlemania Came to Atlanta"
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539:Equalization and signal processing
379:Monitors mixed from front of house
16:Sound reinforcement for performers
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1250:Subwoofers: What You Need To Know
1087:EAW SM159zi stage monitor speaker
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1099:The Sound Reinforcement Handbook
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567:. They get their name from the
370:Front of house auxiliary speaker
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1252:Page 3: Subwoofer Alternatives.
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863:Other terms for this usage are
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638:SC-68 Parametric Notch Filter.
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916:"Taming The Wild Sage Monitor"
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282:San Francisco Civic Auditorium
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847:may less frequently refer to
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42:is a set of performer-facing
1248:Home Theater. Robert Silva.
991:Atlanta Journal-Constitution
434:over a single Ethernet cable
7:
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1185:RANE PE 17 Operators Manual
1134:PEQ 55 Parametric Equalizer
1101:. Yamaha. pp. 187–188.
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839:systems, also described as
510:. The speaker might use a
354:The stage monitoring system
184:sound reinforcement systems
97:concerts is amplified with
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1501:Concepts · Techniques
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76:sound reinforcement system
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25:foldback (disambiguation)
946:Local Crew: McCune Sound
835:is sometimes applied to
486:Meyer Sound Laboratories
74:performances in which a
1166:Cite magazine requires
1147:"Stage Monitor Systems"
172:live sound reproduction
152:
676:
647:reinforcement system.
416:Distributed monitoring
392:Separate monitor mixer
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115:electronic instruments
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853:electronic amplifiers
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599:parametric equalizers
504:high-frequency driver
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1428:Voice classification
1222:Get Your Butt Kicked
851:protection in audio
793:improve this section
593:Parametric equalizer
569:slide potentiometers
323:on August 18, 1965.
295:Stage monitors at a
286:McCune Sound Service
40:stage monitor system
1492:Non-classical music
1397:Forms · Genres
1097:Gary Davis (1988).
738:tactile transducers
632:Feedback Suppressor
508:high-frequency horn
398:microphone splitter
333:Buffalo Springfield
176:loudspeaker systems
1327:Extended technique
1123:Klark Teknik DN410
1075:JBL Cabaret Series
1023:2005-10-01 at the
972:2008-10-15 at the
951:2008-07-18 at the
865:confidence monitor
841:artist's cue-mixes
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530:Monitor amplifiers
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1693:Audio engineering
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837:in-ear monitoring
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723:for performers.
565:graphic equalizer
559:Graphic equalizer
545:acoustic feedback
512:passive crossover
451:Monitor equipment
429:in the monitors.
364:signal processing
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1636:Pitch correction
1603:Vocal resonation
1381:Vocal percussion
1337:Overtone singing
1322:Bathroom singing
1298:
1291:
1284:
1275:
1274:
1268:
1260:
1254:
1245:
1239:
1231:
1225:
1217:
1211:
1205:
1199:
1193:
1187:
1182:
1176:
1175:
1169:
1164:
1162:
1154:
1149:. Archived from
1142:
1136:
1131:
1125:
1120:
1114:
1109:
1103:
1102:
1094:
1088:
1082:
1076:
1070:
1064:
1058:
1052:
1051:
1033:
1027:
1012:
1006:
1001:
995:
994:
982:
976:
961:
955:
943:
937:
936:
934:
933:
927:
921:. Archived from
920:
912:
903:
897:
849:current limiting
824:
817:
813:
810:
804:
773:
765:
667:Related products
482:active crossover
456:Monitor speakers
99:power amplifiers
48:monitor speakers
1718:
1717:
1713:
1712:
1711:
1709:
1708:
1707:
1683:
1682:
1681:
1676:
1650:
1646:Monitor speaker
1619:(popular music)
1618:
1617:Sound equipment
1612:
1496:
1423:
1392:
1305:
1302:
1272:
1271:
1261:
1257:
1246:
1242:
1232:
1228:
1218:
1214:
1206:
1202:
1194:
1190:
1183:
1179:
1168:|magazine=
1167:
1165:
1156:
1155:
1143:
1139:
1132:
1128:
1121:
1117:
1110:
1106:
1095:
1091:
1083:
1079:
1071:
1067:
1059:
1055:
1048:
1034:
1030:
1025:Wayback Machine
1013:
1009:
1002:
998:
983:
979:
974:Wayback Machine
962:
958:
953:Wayback Machine
944:
940:
931:
929:
925:
918:
914:
913:
906:
898:
894:
889:
877:
825:
814:
808:
805:
790:
774:
763:
755:bone conduction
733:
701:
695:
693:In-ear monitors
682:
669:
644:
624:
595:
561:
541:
532:
458:
453:
418:
394:
381:
372:
356:
321:Atlanta Stadium
253:
216:in-ear monitors
194:system and the
155:
28:
17:
12:
11:
5:
1716:
1706:
1705:
1700:
1695:
1678:
1677:
1675:
1674:
1669:
1664:
1658:
1656:
1652:
1651:
1649:
1648:
1643:
1638:
1633:
1628:
1626:In-ear monitor
1622:
1620:
1614:
1613:
1611:
1610:
1605:
1600:
1598:Vocal register
1595:
1590:
1588:Vocal pedagogy
1585:
1580:
1575:
1570:
1565:
1560:
1555:
1550:
1545:
1540:
1535:
1530:
1525:
1520:
1515:
1510:
1504:
1502:
1498:
1497:
1495:
1494:
1489:
1484:
1483:
1482:
1477:
1472:
1467:
1462:
1457:
1452:
1447:
1442:
1431:
1429:
1425:
1424:
1422:
1421:
1416:
1411:
1406:
1400:
1398:
1394:
1393:
1391:
1390:
1389:
1388:
1378:
1377:
1376:
1371:
1361:
1356:
1351:
1346:
1341:
1340:
1339:
1334:
1332:Throat singing
1324:
1319:
1313:
1311:
1307:
1306:
1301:
1300:
1293:
1286:
1278:
1270:
1269:
1255:
1240:
1226:
1212:
1200:
1188:
1177:
1153:on 2011-08-29.
1137:
1126:
1115:
1104:
1089:
1077:
1065:
1053:
1046:
1028:
1007:
996:
977:
956:
938:
904:
891:
890:
888:
885:
884:
883:
876:
873:
869:kicker monitor
827:
826:
809:September 2022
777:
775:
768:
762:
761:Other meanings
759:
750:throne shakers
732:
729:
721:hearing damage
699:In-ear monitor
697:Main article:
694:
691:
681:
678:
668:
665:
643:
640:
623:
620:
594:
591:
560:
557:
540:
537:
531:
528:
506:attached to a
457:
454:
452:
449:
417:
414:
393:
390:
380:
377:
371:
368:
355:
352:
338:In the 1970s,
252:
249:
244:rhythm section
192:front-of-house
154:
151:
138:audio engineer
134:mixing console
107:front-of-house
56:floor monitors
52:stage monitors
21:studio monitor
15:
9:
6:
4:
3:
2:
1715:
1704:
1701:
1699:
1696:
1694:
1691:
1690:
1688:
1673:
1670:
1668:
1665:
1663:
1660:
1659:
1657:
1655:Miscellaneous
1653:
1647:
1644:
1642:
1639:
1637:
1634:
1632:
1629:
1627:
1624:
1623:
1621:
1615:
1609:
1606:
1604:
1601:
1599:
1596:
1594:
1591:
1589:
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1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1564:
1561:
1559:
1556:
1554:
1551:
1549:
1546:
1544:
1541:
1539:
1536:
1534:
1531:
1529:
1526:
1524:
1521:
1519:
1516:
1514:
1511:
1509:
1508:Backup vocals
1506:
1505:
1503:
1499:
1493:
1490:
1488:
1485:
1481:
1478:
1476:
1475:Mezzo-soprano
1473:
1471:
1468:
1466:
1463:
1461:
1458:
1456:
1453:
1451:
1448:
1446:
1445:Bass-baritone
1443:
1441:
1438:
1437:
1436:
1433:
1432:
1430:
1426:
1420:
1417:
1415:
1412:
1410:
1407:
1405:
1402:
1401:
1399:
1395:
1387:
1384:
1383:
1382:
1379:
1375:
1372:
1370:
1367:
1366:
1365:
1362:
1360:
1357:
1355:
1352:
1350:
1347:
1345:
1342:
1338:
1335:
1333:
1330:
1329:
1328:
1325:
1323:
1320:
1318:
1315:
1314:
1312:
1310:Singing types
1308:
1299:
1294:
1292:
1287:
1285:
1280:
1279:
1276:
1267:
1266:
1259:
1253:
1251:
1244:
1238:
1237:
1230:
1224:
1223:
1216:
1209:
1204:
1197:
1192:
1186:
1181:
1173:
1160:
1159:cite magazine
1152:
1148:
1141:
1135:
1130:
1124:
1119:
1113:
1108:
1100:
1093:
1086:
1081:
1074:
1069:
1062:
1057:
1049:
1047:9781136126055
1043:
1039:
1032:
1026:
1022:
1019:
1018:
1011:
1005:
1000:
992:
988:
981:
975:
971:
968:
966:
960:
954:
950:
947:
942:
928:on 2011-06-13
924:
917:
911:
909:
902:Stage Monitor
901:
896:
892:
882:
879:
878:
872:
870:
866:
861:
856:
854:
850:
846:
842:
838:
834:
823:
820:
812:
802:
798:
794:
788:
787:
783:
778:This section
776:
772:
767:
766:
758:
756:
751:
747:
743:
739:
728:
724:
722:
716:
714:
710:
709:universal fit
706:
700:
690:
687:
673:
664:
660:
658:
654:
648:
642:Monitor mixer
639:
637:
633:
629:
619:
617:
611:
607:
604:
600:
590:
586:
583:
578:
575:
570:
566:
556:
553:
548:
546:
536:
527:
525:
519:
517:
513:
509:
505:
501:
497:
492:
489:
487:
483:
479:
475:
470:
466:
463:
448:
446:
442:
437:
435:
430:
428:
422:
413:
409:
407:
406:direct inputs
403:
399:
389:
386:
376:
367:
365:
361:
351:
347:
343:
341:
336:
334:
330:
327:working with
326:
322:
318:
314:
310:
302:
298:
293:
289:
287:
283:
279:
273:
269:
267:
266:Hammond organ
257:
248:
245:
239:
237:
231:
227:
225:
219:
217:
211:
208:
203:
201:
197:
193:
189:
185:
182:(also called
181:
177:
173:
165:
159:
150:
148:
144:
139:
135:
131:
127:
122:
120:
116:
112:
108:
104:
100:
96:
92:
91:popular music
89:The sound at
83:
79:
77:
73:
69:
65:
61:
57:
53:
49:
45:
41:
32:
26:
22:
1698:Loudspeakers
1645:
1608:Vocal weight
1573:Sprechgesang
1568:Scat singing
1465:Countertenor
1359:Sign singing
1354:Scat singing
1264:
1258:
1249:
1243:
1235:
1229:
1221:
1215:
1203:
1191:
1180:
1151:the original
1140:
1129:
1118:
1107:
1098:
1092:
1080:
1068:
1056:
1037:
1031:
1016:
1010:
999:
990:
980:
964:
959:
941:
930:. Retrieved
923:the original
895:
868:
864:
859:
857:
844:
840:
832:
830:
815:
806:
791:Please help
779:
749:
746:butt shakers
745:
742:bass shakers
741:
734:
731:Bass shakers
725:
717:
708:
704:
702:
683:
661:
649:
645:
625:
622:Notch filter
612:
608:
596:
587:
581:
579:
562:
549:
542:
533:
523:
520:
514:or might be
495:
493:
490:
477:
473:
471:
467:
459:
438:
431:
426:
423:
419:
410:
395:
382:
373:
360:equalization
357:
348:
344:
337:
312:
309:audio mixers
306:
278:Judy Garland
274:
270:
262:
240:
235:
232:
228:
220:
212:
207:reverberated
204:
199:
195:
191:
187:
169:
123:
103:coffeehouses
88:
63:
59:
55:
51:
47:
44:loudspeakers
39:
37:
1672:Vocal coach
1662:Vocal music
1593:Vocal range
1548:Lead vocals
1533:Death growl
1523:Chest voice
1344:Oversinging
1015:Bob Cavin.
713:audiologist
653:snake cable
552:ringing out
402:microphones
325:Bill Hanley
317:the Beatles
299:concert in
143:lead singer
1687:Categories
1631:Microphone
1543:Head voice
1518:Coloratura
1435:Voice type
1386:Beatboxing
1364:Sing-along
1317:A cappella
1145:Bob Heil.
1017:Inventions
932:2009-01-12
887:References
686:headphones
684:Hardshell
680:Headphones
441:headphones
329:Neil Young
224:subwoofers
180:PA systems
95:rock music
72:live music
1578:Tessitura
1553:Passaggio
1470:Contralto
1455:Baritenor
858:The term
831:The term
780:does not
574:bandwidth
524:drum fill
385:pre-fader
362:or other
340:Bob Cavin
164:subwoofer
147:guitarist
130:nightclub
64:foldbacks
1538:Falsetto
1528:Crooning
1450:Baritone
1419:Vocables
1374:Lip sync
1021:Archived
970:Archived
949:Archived
881:Sidetone
875:See also
860:foldback
845:Foldback
833:foldback
634:and the
603:Q factor
582:cut-only
516:bi-amped
445:feedback
313:sidefill
301:Paraguay
236:sidefill
200:foldback
1563:Rapping
1558:Quintus
1513:Belting
1480:Soprano
1369:Karaoke
1349:Rapping
1304:Singing
801:removed
786:sources
740:called
657:Y-cable
488:UM-1P.
478:powered
427:more me
303:in 2010
280:at the
251:History
196:monitor
186:): the
70:during
46:called
1583:Timbre
1404:Choral
1044:
705:in-ear
500:woofer
474:active
210:band.
60:wedges
1667:Choir
1460:Tenor
1409:Opera
926:(PDF)
919:(PDF)
636:Ashly
496:wedge
119:drums
68:stage
62:, or
1487:Fach
1440:Bass
1414:Lied
1172:help
1042:ISBN
867:and
784:any
782:cite
748:and
630:562
628:UREI
462:horn
404:and
188:main
178:and
170:For
153:Role
136:and
117:and
93:and
795:by
655:or
476:or
331:of
319:at
297:Yes
198:or
190:or
128:or
126:pub
111:mix
66:on
1689::
1163::
1161:}}
1157:{{
989:.
907:^
871:.
855:.
744:,
616:db
288:.
121:.
58:,
54:,
50:,
38:A
1297:e
1290:t
1283:v
1174:)
1170:(
1050:.
993:.
935:.
822:)
816:(
811:)
807:(
803:.
789:.
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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