A Guide to Stage Monitor Speakers
Live performances are an intricate dance between sound, performance, and technology. One of the most essential yet often overlooked tools in this mix is the stage monitor speaker. Whether you're a solo vocalist, a guitarist, or part of a full band, hearing yourself clearly on stage is crucial for delivering a solid performance and keeping time. That’s where stage monitors come in.
Also known as floor monitors, wedge monitors, or foldback monitors, these speakers provide onstage sound reinforcement by allowing performers to hear a tailored mix of their own output. Unlike front-of-house (FOH) speakers that project sound to the audience, stage monitors are aimed back at the performers. They’re particularly useful in loud stage environments where acoustic monitoring is either impossible or unreliable.
This guide covers everything you need to know about stage monitor speakers, from how they work and different types, to whether you need one and how to set it up properly.
WHAT IS A STAGE MONITOR
A stage monitor is a loudspeaker system used in live performance environments to help performers hear themselves and other members of the band clearly. Unlike front-of-house (FOH) speakers, which face the audience and are designed to project sound outward, stage monitors are aimed at the performers on stage. They ensure that musicians can keep time, pitch, and energy in check, despite the noise of a crowd or the overwhelming volume of amplified instruments on a stage area.
These monitors are often a trapezoid wedge shape, hence the nickname wedge monitors, and placed on the floor angled upwards towards the performers. This allows for focused sound delivery to a specific area without overwhelming the stage or causing feedback. When placed on the floor, they’re also referred to as floor monitors, and in technical lingo, the act of feeding a separate audio mix to these speakers is called foldback, which is where the term foldback monitor originates. All you need to know is these terms all refer to the same type of speaker.
The specific type of stage monitor used can vary depending on the performer's role. A drummer might require a specialist drum monitor with reinforced low-end frequencies to clearly hear the kick and bass. Vocalists benefit from a monitor speaker that can highlight mid and high frequencies for clarity, though they may also want to hear the bassline and perhaps a highlighted section of the drums.
Stage monitors can be passive (requiring an external amplifier) or active (self-powered), and each setup has its pros and cons. But regardless of type, their core job remains the same: giving performers the real-time audio feedback they need in order to keep time and sound their best.
HOW DO STAGE MONITORS WORK
Stage monitors function by receiving an ouput from the mixing console, separate from the main front-of-house output. This monitor mix might be a feed of the complete output, or it may include only certain instruments or vocals, depending on what the performer needs to hear to stay locked in with the rest of the band.
At the heart of it, a stage monitor setup involves several key components:
Mixing Console (or Monitor Desk)
The mixer is the heart of your PA and controls all your signal routing and any effects layering. Larger mixing desks have dedicated auxiliary sends or even signal bus outputs, while smaller mixers may only have a single aux or monitor output. The number of aux channels and features varies significantly depending on the mixer's cost and its design. Your mixers' controls and the number of outputs available will dictate the type of monitoring you can set up.
Stage Monitor Speakers
These receive the audio mix and reproduce it for the performer. These could be passive wedge monitors, active floor monitors, or even more specialised drum monitors. They serve two purposes, the first being to provide the performer with a real-time reference of their own output to help with timing and level, and the second being to help lower the overall volume on stage and stop band members raising volumes up so they can hear themselves over other instruments, which just escalates into chaos.
Active or Passive
Active monitors have their own built-in amps, while passive ones require a separate power amplifier. While larger venues may use passive systems, for mobile performers, it's far more common to see active monitor speakers being used. It removes any impedance issues caused by daisy chain wiring and gives you direct control over monitor volume at your feet.
Signal Chain
Depending on the setup, the monitor mix travels from the mixer to the monitor speaker via XLR or 6.35mm (¼”) TRS cables if its active, or if its passive, it will be from the mixer to the amplifier, then to the monitors via speaker cable, which could be a 6.35mm jack, or a NL2 Speakon plug.
Positioning and directionality are crucial. Monitors must be angled carefully to avoid feedback, that unpleasant high-pitched squeal which happens when the audio output re-enters the microphone, creating a self-feeding loop. Awareness of your microphone's pickup pattern is important for good monitor placement, as well as the use of graphic EQs or tone controls to notch out frequencies prone to feedback. A huge benefit of using active speakers is that they will each have their own volume and tone adjustment built in, giving you fine control for each monitor position.
Modern stage setups might also include in-ear monitors (IEMs), but traditional wedge or floor monitors remain a staple for many due to their reliability and tactile presence. Unlike IEMs, they don't isolate performers, which can be invaluable for dynamic performances.
In essence, stage monitors are the performers’ personal sound systems, fine-tuned to deliver exactly what’s needed to perform with confidence and cohesion.
DO STAGE MONITORS NEED AN AMP
The answer depends on the type of stage monitor you're using. There are two broad categories: active (powered) and passive (unpowered).
Active Stage Monitors
The most popular choice for mobile performers. These have a built-in amplifier. All you need is a signal cable (XLR or TRS) from your mixers aux or monitor output, and you’re good to go. Active floor monitors are great for quick setup and portability. Just plug them in, point them towards head height, and let them do the work.
Pros:
- Easy to set up with simple connections
- No external amplifier required
- Usually come with onboard EQ and volume controls
- Daisy chaining is via a line-level signal, so no impedance issues to worry about
Cons:
- More expensive than passive versions
- Heavier due to the internal amp
- Each monitor needs its own mains connection
- More easily damaged in transport due to the electronics
Passive Stage Monitors
These require an external power amplifier. Your mixer sends a line-level signal to the amp, which then powers the wedge monitor via a speaker cable. Matching the amp’s output with the monitor’s power handling and impedance is essential to avoid damage, and if you daisy chain several monitor speakers, you must be aware of the total impedance loading, or you will quickly destroy your amplifier.
Pros:
- Lighter weight than active units
- Do not require mains to each speaker
- One amp can power multiple monitors (depending on output power and impedance)
- Cheaper to purchase
- No onboard electronics, so are less prone to damage that would stop them working
Cons:
- More complex to set up
- A separate amplifier means more equipment to transport
- Risk of mismatched impedance or power levels
- No onboard sound adjustment
So, in a nutshell, yes, stage monitors do need an amp. If you're using passive monitors, you'll need a power amplifier. If you’re using active monitors, the amp is already tucked neatly inside. So, unless you enjoy lugging around extra rack gear and playing impedance-matching bingo, active monitors are generally more convenient for most modern live setups.
Many larger venues such as theatres will use passive audio systems, as from a durability and technical perspective, it's simpler to have amplifiers and mixing feeds all in one location, usually operated by a dedicated sound engineer. It’s rare for a passive speaker to fail, and if it does, it can quickly be replaced or repaired, plus, it removes any local adjustment of volume or EQ safely out of reach from half deaf musicians' prying hands.
Not that active speakers are unreliable, far from it. Modern active speakers use the very best power amplifier designs that are powerful and reliable. But, every venues audio system is based around specific factors, so something that's ideal for mobile work isn't always the best choice for an installation, and vice versa.
STAGE MONITOR, FLOOR MONITOR, OR WEDGE MONITOR
Multiple names and terms for the same piece of equipment? What’s that all about then?!
Stage Monitor
This is the umbrella term. Any speaker used on stage to give performers a foldback mix is a stage monitor. Whether it’s placed on the floor, mounted on a stand, or shoved behind the drum kit, it qualifies.
Any speaker can be a stage monitor really, so many bands will use a ‘normal’ active 12” PA cab and just lay it on its side, and there's nothing wrong with doing that, just that PA cabs are generally designed for wide dispersion and as long throw as possible, so being stood directly infront and above one doesnt exactly give you its best.
Floor Monitor
A subtype of stage monitor designed specifically for floor use. These are often a softened triangular-shaped cab with a curved grille, designed to point upwards at an angle, aimed toward the performer's head. They often have a much shallower angle than a wedge. Floor monitors are beloved for their low profile and ease of placement, and their driver layout is specifically designed for this shorter-range projection.
Wedge Monitor
This is essentially the same thing as a floor monitor but specifically referred to by the distinctive shape. Wedge monitors are the older, original design. Triangular, with a flat face angled upwards, often at 45 degrees. They are usually a bit harder-edged looking than a more modern floor monitor. This design helps direct sound precisely toward the performer’s ears, while minimising spill over into other mics.
Foldback Monitor
This is the correct technical term for any speaker that is providing a performer with a separate mix of the main audio output. It could be a full mix, or it can be tailored specifically to that performer.
So, just to clear things up:
A wedge monitor is a type of floor monitor
A floor monitor is a type of stage monitor
All wedges are floor monitors, but not all floor monitors are wedges (e.g., some are flat or coaxial), and any of these names can be interchanged by manufacturers.
Some performers use drum monitors (larger, full-range systems) or vocal monitors (tuned for speech intelligibility), which are also types of stage monitors tailored for specific roles.
If it's on stage and helps you hear yourself, it's a stage monitor. If it’s on the floor and roughly shaped like a cheese wedge, it’s a wedge monitor or floor monitor. Oh, and all of these are foldback monitors...
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5 DO I NEED A STAGE MONITOR
If you perform live music or public speaking and need to hear yourself accurately, then yes, you almost certainly need a stage monitor.
Why a Stage Monitor is Necessary
In a live setting, the front-of-house (FOH) speakers are positioned to project sound towards the audience. Without stage monitors or foldback systems, performers rely solely on ambient sound, which can be unpredictable, especially in larger or acoustically poor venues. On-stage amplifiers for guitars and bass can often be overwhelming, and the drums are a dominant force, so it becomes almost impossible to maintain a good overall output level, especially for vocalists, as they simply can't judge how loud they are compared to everything else.
As most small bands or venues don't have sound technicians, it's down to the band to set a comfortable level both on stage and out front, and maintain it.
The output going to the monitors will be dictated by the mixers capabilities, how the speakers are wired, and the personal taste requirements of the individual performers, so there isnt really a ‘standard’ setting as such.
Some Examples of Stage Monitor Feeds:
For Singers:
Trying to pitch correctly without a vocal monitor is like trying to colour inside the lines in the dark. A well-placed floor monitor helps you hear your voice over the instruments and maintain proper intonation. It also gives you a correct timing reference.
For Drummers:
Drummers often don't use a monitor speaker, preferring in-ear monitors with a click track. Depending on the size of band though, they may want to hear the rhythm guitar and the bass guitar, though it varies between players.
For Guitarists:
Most guitarists will usually be performing with some form of amplifier on stage, normally placed behind them somewhere, so they will generally only want their vocals, or a low-level full mix of the band, if that's all that is available.
For Bassists:
As with the guitar, most bass players have their own amp right next to them, and it's close enough that they don't need to hear their feed via a monitor. They normally will want the kick drum and hi-hat if the drum kit isn't in direct proximity.
For Solo Performers:
Even soloists need feedback. A single wedge monitor gives real-time assurance that what’s going out front is what they intend. The only exception might be tiny acoustic gigs in a dead-quiet room. But even then, a stage monitor can help fill in the gaps and reduce vocal strain.
Whether you're performing in a pub, on a theatre stage, or headlining Glasto, a reliable foldback monitor setup is essential.
6 HOW DO I CONNECT A STAGE MONITOR TO MY SETUP
Ah, the all-important wiring stage, where many a gig has been derailed. But fear not! Here's a simple breakdown:
Basic Step-by-Step for Active Stage Monitors:
For the most straightforward connection, you will use an auxiliary (AUX) send output from your mixer. All PA mixers worth having should provide at least one of these. This should be a balanced mono output, so you will connect this via XLR or TRS cable (depending on the mixer's connector type) to the monitor speakers' input, which will usually be an XLR.
Power it Up: Plug the monitor into mains power. Be aware of mains noise from cheap extension leads, or from sharing a power strip between certain types of equipment. Motors and pumps used in stage lighting and things like smoke machines can create loud pops on the line, which an amplifier may pick up.
Position: For most performers, be it vocals or guitar, say, you will locate the stage monitor behind your mic stand, putting it directly behind the microphone's ‘dead spot’. Dynamic vocal mics with standard cardioid pickup patterns are designed to ignore sound from the rear, so you want your monitor speaker to be placed in that area to help avoid any feedback issues.
Set Mixer Volume/EQ: The aux output on a mixer is controlled by aux level controls to each channel on the mixer, which allows you to raise or lower the level of each instrument or vocalist in the final mix. These controls are not affected by the main channel level controls, so adjusting the volume going to the main speakers won't affect the level you set for the monitors.
Set Monitor Volume/EQ: Adjust the monitor’s onboard controls if needed. One of the benefits of a good active floor monitor, especially when you are running a full mix to each monitor, is the ability to EQ out any harsh top-end that may cause feedback, and volume to suit the performer in that position.
For most small bands (pubs, clubs), a full mix into the monitors is perfectly fine, and by far the simplest setup, and with lower-cost mixers, it's also often the only path available to you. The single AUX feed can be daisy-chained to any number of active stage monitors, providing a reference point to the performer of the sound that's going out into the room.
Step-by-Step for Passive Stage Monitors:
The signal side of things is exactly the same for passive monitors. So you would take a feed from the AUX output of your mixer, and this will go to an input on your power amplifier. Remember that this is a mono feed (live music is rarely stereo), so you will only be using one side of the amp in most cases (or bridged if it's capable). You can also link the feed to both channels on the amp, and run, for example, two stage monitors off each channel, helping keep the power and loading balanced.
Amp to Monitor: Use speaker cable (not instrument cable!) to link the amp to the monitor. This connection will purely depend on the design of your power amplifier. Decent ones will have either NL2 Speakon or 6.35mm (¼”) jack outputs, whereas lower-cost units may be limited to a bare wire connection, which isn't ideal for the regular use of mobile work.
If you are linking (daisy chaining) several passive stage monitors, you must be aware of the impedance load, and how your specific speakers input/output sockets are wired. For example, two monitors rated at 8 Ohm impedance each, will present a 4 Ohm load to the amplifier if wired in Parallel (the most common method). However, wired in Series, the same two speakers will give a 16 Ohm load. Most power amplifiers are looking for a load of 4 or 8 Ohms to operate efficiently and safely.
Positioning: This is the same as active models, with most monitors being placed behind a performer's microphone stand, which is the best option for avoiding feedback. Depending on the floor space available and how many monitors the band are using, this positioning is relatively flexible, so long as they are inward facing.
Power On and EQ: Make sure the amps power levels and crossover settings match the monitor’s capabilities. A passive monitor has no tone or volume controls, so any adjustment comes from the desk, but be aware that the EQ controls will be affecting the main mix at the same time on most mixers (post-EQ sends). Though there are also PA mixers with pre-EQ aux sends, where the tone and equaliser controls won't alter the monitor feeds, so it's important to know your equipment.
Advanced Monitoring:
There are many different methods and options for stage monitoring, and these will purely depend on the type of equipment you have and the level of output controls it offers.
It should be fairly obvious, but what comes out, must first go in. Or in other words, you need to have the entire band going through the desk in order for those instruments or vocals to be heard in the monitors. For example, if your guitarist likes to have his own amp blaring out on stage, then that's fine, but you will still need a feed from it, either via a mic to the cab or from a D.I. box, otherwise you wont have any guitar in the monitor mix going to the other performers.
If your mixer has them available, you can use separate Aux sends for different mixes. With professional mixers, this allows you to provide each performer with a completely custom monitor feed, such as a vocalist who may just want their own raw vocals, minus any reverb or effects that are being added.
Any line out from a mixer can be used for monitors, so even though you may not have multiple Aux send outs, you could use a secondary main out (mixers often have XLR and Jack main outs), or you may have a ‘control booth’ output or similar. Any of these will give you a full mix that can be used for foldback purposes. They won't have an independent level control like a dedicated Aux channel, but they will work just as well for most situations.
7 FINAL THOUGHTS
Stage monitors are indispensable tools for delivering confident, accurate, and powerful live performances. Whether you’re a solo singer with a vocal monitor or a drummer requiring a powerful drum monitor setup, the ability to hear yourself clearly on stage can make or break your performance.
We’ve explored how stage monitors work, the differences between active and passive systems, and the distinctions between floor monitors, wedge monitors, and other variations. We also examined why they’re needed, how to connect them, and what to consider when choosing the right one for your setup.
In summary, a good stage monitor system is a vital part of any live sound environment. Choosing the right monitor and setting it up correctly ensures that every note and beat you play is heard as intended, not just by the audience, but by you as well.