Creating an effective monitor system in a live sound environment is one of the most critical tasks for a sound engineer. Performers rely on monitor mixes to hear themselves and each other clearly, and a poorly configured monitor system can lead to pitch issues, timing problems, and on-stage frustration. The backbone of any flexible monitor system is the auxiliary (aux) send setup. By mastering aux send configuration, you can deliver personalized monitor mixes to each performer, reduce stage volume, and improve overall sound quality. This article provides a comprehensive guide to configuring an aux send system for multiple monitor mixes, from understanding the fundamentals to implementing advanced techniques.

What Is an Aux Send System?

An aux send system allows you to route audio signals from individual input channels on a mixing console to separate output paths. These outputs can be connected to monitor speakers, in-ear monitor systems, or effects processors. Each aux send basically acts as an independent submix bus: you decide how much of each channel (vocals, guitar, kick drum, etc.) goes into that bus, and that combined signal is sent to a specific destination. This architecture enables you to create multiple distinct mixes simultaneously, which is essential when different performers require different things in their monitors.

For example, a lead vocalist might want a mix heavy in their own voice with a little guitar and kick, while a drummer needs a click track and bass guitar. Rather than trying to please everyone with a single mix, you can dedicate one aux send to the vocalist’s monitor, another to a floor wedge for the drummer, and a third to a side-fill for the band. The result is a cleaner stage, less bleed into front-of-house microphones, and happier performers.

Key Components of an Aux Send System

To configure aux sends effectively, you need to understand the hardware and signal flow involved:

  • Mixing Console: The console provides the aux send buses. Analog consoles typically have 4–12 aux sends; digital consoles can have 16 or more plus virtual sends.
  • Output Jacks: Each aux send has a physical output connector, usually a ¼-inch TRS or XLR, that feeds an amplifier or powered speaker.
  • Monitor Speakers / IEMs: The destination devices that reproduce the mix for the performer.
  • Cables and Patching: Balanced cables for longer runs to avoid noise; proper routing via a patchbay if needed.

Pre-Fader vs. Post-Fader Aux Sends

One of the most important decisions you make when configuring aux sends is whether to use pre-fader or post-fader mode. These two options behave very differently and each serves distinct purposes:

  • Pre-Fader Aux Sends: The signal is tapped before the channel fader, so changing the fader level for the main mix does not affect the aux send level. This is ideal for monitor mixes because performers need their in-ears or wedges to remain consistent even when the engineer adjusts the front-of-house mix. Pre-fader sends are also commonly used for cue mixes and recording feeds where you want independent level control.
  • Post-Fader Aux Sends: The signal is taken after the channel fader, so the aux send level automatically follows any changes to the channel fader. This is commonly used for sending to effects processors (reverb, delay) because the effect level scales naturally with the channel volume. Post-fader sends can also be used for monitor mixes where the performer wants their mix to track the main house mix (rare, but sometimes used for side fills that mirror the house).

In most monitor mixing scenarios, you will set your aux sends to pre-fader. Check your mixing console’s manual for how to toggle between pre and post (often a switch per aux send per channel, or a global setting in digital consoles).

Planning Your Monitor Mix Configuration

Before you patch a single cable, take time to plan out your monitor system. The number of monitor mixes you need directly dictates how many aux sends you require. Here are the steps to develop a solid plan:

1. Identify Performer Requirements

Interview the performers or review their rider. Typical requirements include:

  • Lead vocalist: Usually wants significant amounts of their own voice, a little guitar, and a bit of bass and kick drum for timing.
  • Backing vocalists: Often want a blend of other vocals and keyboards; may need a click track if using backing tracks.
  • Drummer: May need a click track, bass guitar, and some lead vocals; often prefers low overall volume if using headphones or IEMs.
  • Guitarist/bassist: Typically want themselves and the main vocal, with varying levels of the rest of the band.
  • Keyboardist: May need their own keyboard mixed with vocals and possibly a subwoofer feed for low-end synths.

List each performer and their ideal monitor mix components. This will help you allocate aux sends efficiently.

2. Determine How Many Aux Sends You Have

Count the available aux sends on your mixer. If you have limited sends (e.g., 4), you may need to combine performers who can share a mix—for instance, putting both backing vocalists on the same aux send if their requirements are similar. For large bands, you might need to add an external monitor mixing system or use a digital console with more sends.

3. Assign Monitor Mixes to Aux Sends

Label each aux send with its intended destination (e.g., “Aux 1 = Wedge 1 (Lead Vox)”, “Aux 2 = Wedge 2 (Drums)”, “Aux 3 = IEM (Guitarist)”, etc.). Use tape labels on the console or (on digital consoles) rename the sends in the software. Clear labeling saves time during soundcheck and prevents confusion when troubleshooting.

Step-by-Step Configuration Process

Once you have a plan, follow these steps to configure your aux send system for multiple monitor mixes.

Step 1: Set All Aux Sends to Pre-Fader

If you are using analog consoles, locate the pre/post switch for each aux send on each channel and set it to “pre” for any aux send that will be used for monitoring. On digital mixers, you can often set this globally per aux bus or per channel. Do this before adjusting any levels to avoid unexpected behavior.

Step 2: Create a Starting Balance

Bring up the main fader levels for all input channels to unity (0 dB) or your standard gain structure. Then, for each aux send, bring up the send level knob for each channel to create a rough mix for that monitor. Start with vocals and rhythm section (bass and drums) as they form the foundation of most monitor mixes. Use your ears or ask a performer to speak through a microphone while you adjust.

Step 3: Apply EQ and Filters

Monitor mixes often require equalization to reduce muddiness and prevent feedback. High-pass filters (cut below 80–100 Hz) for vocals and many instruments can clean up the low end. Cut narrow frequencies that cause feedback (often around 200 Hz, 400 Hz, or 1–4 kHz) using a parametric EQ if available. Avoid boosting low frequencies excessively in wedge monitors to reduce stage rumble. For in-ear monitors, use gentle limiting to protect hearing.

Step 4: Connect Monitor Speakers or IEM Transmitters

Physically wire each aux send output to its corresponding monitor. For powered speakers, run a balanced XLR cable from the aux output to the speaker input. For in-ear monitors, connect the aux output to the transmitter unit (e.g., Shure PSM300) and then assign the correct channel to the performer’s receiver pack. Ensure all cables are securely fastened and avoid running audio lines parallel to power cables to minimize interference.

Step 5: Fine-Tune During Soundcheck

Soundcheck is the time to refine each monitor mix. Have each performer stand at their stage position and listen while you adjust the aux send levels. Listen for feedback: if a wedge starts to ring, notch out that frequency in the monitor EQ or reduce the level of the offending channel. Ask performers to use hand signals to indicate “more” or “less” of specific instruments. Document the final send levels for each channel on each aux bus in your soundcheck notes.

Advanced Considerations for Multiple Monitor Mixes

As you gain experience, you can incorporate advanced techniques to improve monitor mix quality and system reliability.

Using Digital Consoles for Virtual Aux Sends

Digital mixers often allow you to create virtual aux sends that are not tied to physical outputs. This is useful when you need more mixes than your console has physical output jacks. You can route virtual mixes to a stage box for IEMs or to a wireless transmitter rack. Additionally, digital consoles let you freely assign pre- or post-fader, apply channel EQ to the aux send mix separately, and save scene recall for different performance sets.

Combining Multiple Wedges on One Aux

If you have more monitor speakers than aux sends, you can daisy-chain two or more wedges from the same aux output (using a Y-cable or linking the pass-through output on the speaker). Be mindful of total impedance load if using passive speakers and amplifiers. For powered speakers, ensure the combined power draw does not exceed the output limits. Alternatively, use a single aux send for a “side fill” mix that covers multiple performers who share similar needs.

Integrating Wireless In-Ear Systems

Wireless in-ear monitors (IEMs) require dedicated aux sends for each independent mix. The aux output feeds a wireless transmitter, which broadcasts to the performer’s body-pack receiver. To prevent interference and ensure audio quality, use wide-bandwidth transmitters and coordinate frequencies properly. Many touring setups use a digital IEM system that can handle multiple channels in a compact rack.

Using Matrix Mixes for Monitor Groups

Some consoles offer a matrix mixer that can take inputs from aux sends and create sub-mixes. For example, you can route all drum channels to an aux send labeled “Drums Submix,” and then use that submix as a single chunk in other monitor mixes. This simplifies adjustments when you need to add more drums to multiple wedges at once.

Best Practices for Reliable Monitor Mixes

Follow these guidelines to ensure your monitor system performs consistently:

  • Use balanced connections: XLR or TRS cables with three conductors help reject hum and radio frequency interference over long cable runs.
  • Label everything: Use gaffer tape with permanent marker to label aux sends, cables, and monitor speakers. Digital consoles allow renaming sends and assigning colors.
  • Set gain structure carefully: Ensure input gains are set so the channel peaks at around -6 dBFS (digital) or similar structure. This gives headroom to adjust aux sends without introducing noise.
  • Monitor feedback zones: Walk the stage during soundcheck to listen for potential feedback points. Place wedges so they point away from open microphones.
  • Use graphic EQ on monitor outputs: Many consoles have a graphic EQ that can be inserted on the aux send output. Apply gentle cuts to tame problematic frequencies across the whole monitor mix.
  • Protect hearing: For in-ear monitors, set a limiter in the transmitter to prevent sudden spikes. Teach performers to request level changes with signals rather than shouting.

Troubleshooting Common Aux Send Issues

Even with careful planning, problems can arise. Here are common issues and their solutions:

  • No sound from a monitor: Check the aux send output cable, the monitor’s power/volume, and the mute/assignment of the aux bus. Verify the channel is routed to the aux send (pre-fader enabled and send knob turned up).
  • Monitor mix is distorting: The aux send level may be too hot. Lower the send trim or the gain of the individual channels feeding that aux. Also check if the monitor speaker’s input gain is set too high.
  • Feedback in one monitor only: Identify the problematic frequency by systematic sweeping. Use a parametric EQ on that aux output to cut the offending frequency. Reduce the level of any open microphones that are too close to the wedge.
  • Crosstalk between aux sends: This usually indicates a bad cable or a grounding issue. Isolate the problematic aux and swap cables to diagnose. Digital consoles may have software routing errors—review the patch assignments.
  • Inconsistent levels across soundchecks: Ensure no one has accidentally changed global aux send settings. Use scene recall (digital) or take photos (analog) of knob positions for repeatability.

External Resources for Further Learning

To deepen your understanding of aux send systems and monitor mixing, explore the following reputable sources:

Conclusion

Configuring an aux send system for multiple monitor mixes requires both technical knowledge and practical experience. By understanding the difference between pre- and post-fader sends, planning mixes based on performer needs, and methodically setting levels and EQ, you can create a monitor environment that enhances the live performance rather than hinders it. Whether you are working with a small analog console and a few wedges or a large digital system with 24-channel IEMs, the principles remain the same: give each performer what they need to hear, maintain clean gain structure, and be prepared to troubleshoot on the fly. A well-configured monitor system reduces stage volume, minimizes feedback, and ultimately helps the band perform at their best. Regularly revisit your aux send configurations as the band evolves, and always document your settings for future shows. With practice, you will be able to dial in monitor mixes quickly and confidently, earning the trust of the performers and the respect of your peers.