Monitor Console Tech Rider: Mixes, Outputs, and Handoffs

TL;DR — A monitor console tech rider should connect every performer to a named wedge or IEM mix, then define the required inputs, mix buses, physical outputs, input split, talkback, cue system, console access, and fallback. State whether each mix is mono or stereo and who supplies every device. Advance the complete signal path—not only a console model—and verify routing, limiters, RF, and output destinations before performers use the system.

Table of contents

1. Start with performer destinations
2. Turn the mix list into console capacity
3. Document the input split and gain workflow
4. Specify wedges, IEMs, and outputs
5. Plan talkback, cueing, and show files
6. Advance the monitor-engineer handoff
7. FAQ

Start with performer destinations

A monitor rider begins with the people listening, not the console brand. Give every mix a stable ID, performer or role, delivery format, physical destination, and owner.

This is an example structure, not a recommended band setup. Replace every destination and preference with the actual show.

Keep the same performer names and mix IDs on the stage plot, input list, output list, and console file. “Drum ears,” “Drummer IEM,” and “Mix 4” can look like three different destinations during a rushed patch unless the documents explicitly connect them.

Monitor preferences should establish priorities rather than fixed percentages. A note such as “own vocal prominent; enough keys for pitch” gives the engineer a useful starting point. The final balance must be set with the performer on the real stage.

Turn the mix list into console capacity

Count resources from the destination list. A mono wedge mix normally needs one mix bus and one output path. A stereo IEM mix normally needs two linked buses and two output paths. Talkback, cue, sidefills, drum fill, or guest feeds can require additional paths.

Example capacity summary

Do not copy these numbers into a rider. Derive them from the current input and mix lists.

A console advertised with enough input channels may still lack the needed mix buses, physical output sockets, stage-rack outputs, processing, or compatible cards. Confirm the complete configured system:

• console surface and engine;
• input processing paths and mix-bus count;
• mono and stereo bus configuration;
• stage and local physical I/O;
• output connector types;
• cue or solo system;
• talkback routing;
• console software or firmware version;
• required networking or artist-carried control devices.

Monitor sends are commonly configured pre-fader so FOH level moves do not change a performer’s balance. That is a workflow choice to confirm, not a substitute for checking the console. Record the required behavior and verify the pickoff point, mute behavior, and processing scope during setup.

If FOH creates the monitor mixes, say so and include the monitor bus requirements in the FOH Console Tech Rider. If a dedicated monitor console is used, define the input-sharing method and responsibility boundary.

Document the input split and gain workflow

A dedicated monitor console and FOH console need access to the same stage sources. The input split may be analog, digital, or part of an agreed networked system. Each approach has different equipment and control implications.

Record:

• which input list revision both consoles use;
• split type and exact hardware or digital transport;
• number and location of input and return paths;
• who supplies and patches the split;
• which console controls input gain;
• whether trim or digital gain is available independently;
• phantom-power responsibility;
• clocking and sample-rate ownership for digital connections;
• a fallback if the preferred split or transport cannot be used.

Do not describe an unfamiliar shared-gain workflow as independent. If one console controls the preamp, changes can affect the other console. The two engineers should agree on gain, phantom power, patch changes, and communication before line check.

Use one patch table for both teams:

“Confirmed engineer” must become a named responsibility in the final show document. The table should also identify any monitor-only source, playback return, audience microphone, or talkback channel that is not shared with FOH.

Specify wedges, IEMs, and outputs

The console output is only one part of the monitor path. Document the destination from bus to performer.

Wedge and fill outputs

For every wedge, sidefill, or drum fill, list:

• mix ID and stage position;
• loudspeaker and amplifier or powered-speaker provider;
• processor or system-control responsibility;
• output connector and patch point;
• whether multiple cabinets share one mix;
• cabling responsibility;
• safe placement and unobstructed performer movement.

Avoid promising a sound-pressure level or “feedback-proof” mix in a generic rider. Microphone choice, placement, loudspeaker coverage, stage volume, room acoustics, and system tuning all affect the result. Qualified venue staff retain control of safe system deployment.

IEM outputs

For each IEM destination, state:

• mono or stereo feed;
• wired or wireless delivery;
• transmitter or headphone-amplifier make and model when artist-carried;
• input connector and operating level expected by the device;
• provider and patch responsibility;
• performer bodypack and earphone ownership;
• limiter and safe-level responsibility;
• ambience or audience-microphone requirements;
• spare and fallback.

Wireless IEMs also belong in the complete RF inventory. Do not assume compatible frequencies or venue bodypacks are available. Use the Wireless Microphone Tech Rider workflow to advance tuning bands, coordination, antennas, batteries, and backup hardware.

Plan talkback, cueing, and show files

Talkback and communication

State who needs to speak to whom. A monitor engineer may need selective talkback to individual mixes, all performers, stage crew, or FOH. Document the microphone, routing destinations, switch method, and whether talkback must be excluded from audience outputs.

Add any wired intercom or other production communication as a separate system with a named provider. Do not assume a console talkback microphone replaces stage-management communication.

Cue system

The engineer needs a way to inspect an input or mix without changing what the performer hears. Confirm the console’s cue or solo workflow, headphones, and any cue wedge or IEM path. The cue system must be separate from performer outputs and verified before soundcheck.

Show files

A monitor show file can preserve channel names, mix assignments, scenes, and routing, but it cannot prove that physical outputs or performer devices are patched correctly. Send it with:

• exact console family, model, and software version;
• file revision date;
• matching input- and mix-list revisions;
• assumed stage rack, cards, bus configuration, and output patch;
• external dependencies;
• safe loading and verification process;
• a written no-file fallback.

After loading, verify every input, mix, output, mute, scene, talkback route, cue route, and physical destination. The responsible technician should protect the venue’s existing configuration and control the load or conversion process.

Advance the monitor-engineer handoff

Use the production advance to assign the full workflow:

1. final input list, monitor mix list, and stage plot revisions;
2. monitor engineer and venue production contacts;
3. console, engine, stage rack, cards, and software version;
4. input split, gain, phantom power, digital clocking, and patch ownership;
5. mono and stereo bus count;
6. physical output patch and connector format;
7. wedge, IEM, amplifier, transmitter, antenna, and cabling providers;
8. RF coordination and battery responsibilities;
9. talkback, cueing, and communication paths;
10. show-file delivery and loading process;
11. line-check and soundcheck schedule;
12. spare and fallback paths.

During line check, verify the source name at both consoles and the intended destination. During soundcheck, build one performer mix at a time, confirm communication, and record the agreed changes. Never send unverified audio to an IEM pack at an arbitrary level.

After the advance, invite the monitor engineer or tour manager to edit and save the same Rider and inspect its history. Share the current Rider with the venue and export a dated PDF for offline show-day use.

Common monitor-rider mistakes

Listing “four mixes” without destinations. Name the performer, format, device, position, and provider for each mix.

Counting stereo IEMs as one output. A stereo destination uses a left and right physical path.

Naming a console but omitting the split. FOH and monitors still need an agreed method to receive inputs and control gain.

Mixing RF and audio identifiers. An IEM frequency assignment is not the same as its console mix or output socket.

Treating show files as verified patches. Check every physical input and output after loading.

Leaving talkback in every bus. Define its intended destinations and keep it out of audience feeds.

Pre-send checklist

• Every performer has a stable mix ID and destination.
• Mono and stereo formats are explicit.
• Bus and physical-output counts match the mix list.
• Wedge, IEM, amplifier, transmitter, and cable providers are assigned.
• Input split, gain, phantom-power, and clocking ownership are clear.
• Output connectors and patch points are confirmed.
• Talkback and cue routes have been documented.
• Wireless systems appear in the RF inventory.
• Show-file version and dependencies are recorded.
• A safe, written fallback exists.

FAQ

What should a monitor tech rider include?

Include the input list, one row per performer mix, mono or stereo format, wedge or IEM destination, bus and physical-output capacity, input split, gain and phantom-power ownership, console system, talkback, cueing, show-file details, equipment providers, schedule, and fallback paths.

How do you list monitor mixes in a tech rider?

Give each mix a stable ID, performer or role, mono or stereo format, delivery device, stage position, provider, output patch, and priority sources. Use the same ID on the stage plot, output list, and console file.

What is an input split for a monitor console?

An input split gives FOH and monitor consoles access to the same stage sources. It can use analog split hardware or an agreed digital system. The rider must define the method, capacity, patch, provider, gain control, phantom-power ownership, and fallback.

Should monitor mixes be pre-fader or post-fader?

Monitor sends are commonly pre-fader so audience-mix fader changes do not alter performer balances. Confirm the actual pickoff point, mute behavior, and processing on the selected console because configurations vary.

What does a monitor engineer need from a band?

The engineer needs a current stage plot, numbered input list, named mix destinations, performer priorities, wedge and IEM ownership, RF inventory, playback and click details, communication needs, show-file information, and enough line-check or soundcheck time to verify the system.

Keep every performer destination connected

Build the input list and monitor plan in Techrider.live, invite the monitor engineer to edit the same Rider, and send the current link before the production advance closes.

---

Last updated: 2026-07-28 · Reviewed for monitor-console capacity, input splitting, wedge and IEM outputs, talkback, and production handoffs.