When organizing a roots reggae festival, achieving the perfect stage sound for artists is crucial. Many roots bands – from reggae legends to emerging world music acts – have strong preferences in how they hear themselves on stage. The goal is to honor those preferences while controlling the overall stage volume for a great audience experience. This means balancing traditional floor wedges (monitor speakers) and modern in-ear monitors (IEMs), plus smart stage design techniques. The following guide offers practical advice drawn from years of festival production experience on providing excellent monitor mixes for roots bands of all sizes.
Wedges vs. In-Ear Monitors – Finding the Right Fit
Floor wedges for “feel”: A lot of reggae and roots musicians still prefer classic floor wedge monitors because they feel the music through them. The thump of the bass and the air moving from a wedge can connect performers to the groove in a visceral way. These artists often find IEMs too isolating or “sterile.” To accommodate this, provide high-quality wedges and aim for a quiet yet present stage sound. Keep monitor volumes sufficient for the musicians to feel comfortable, but avoid turning them up to rock-concert levels. Excessive stage volume can wreak havoc on the front-of-house mix by causing echo and phase issues (www.prosoundweb.com). High stage SPL (sound pressure level) isn’t just a problem for the audience – it can also make it harder for musicians to hear a balanced mix on stage. Strive for clarity over sheer volume.
Designing a quieter stage: One technique is to use smaller monitor cabinets that naturally limit extreme low frequencies. Experienced engineers note that you don’t need deep sub-bass coming out of a vocal wedge (www.prosoundweb.com). For example, a 10- or 12-inch coaxial wedge can deliver clear mids and highs without booming 45 Hz frequencies (which would be high-passed out of vocal mixes anyway). The deep bass on stage can come from the main PA spill or dedicated side fills rather than every single wedge. If the main PA’s “sub wash” (low-end spill) isn’t enough for performers to feel the bass, consider adding side fill subwoofers at the sides of the stage (www.prosoundweb.com). This way, artists get that reggae low-end presence without turning each individual monitor up to 11. Side fills and even a drum fill with a sub can provide thump for the whole stage, while each musician’s personal wedge remains focused on clarity for their own vocals or instruments.
When to use IEMs: In-ear monitors have become more common worldwide, and many younger bands travel with their own wireless IEM systems. For festival organizers, offer IEMs as an option, especially for acts where it makes sense. Vocal harmony trios are a great example – a trio of singers performing roots reggae or ska might benefit from IEMs so they can hear each other’s harmonies in detail without feedback. In-ear monitors give them a consistent mix no matter where they move on stage. Similarly, any band that requests a click track (metronome) for timing – perhaps percussion-heavy acts or those incorporating backing tracks – will need at least the drummer or percussion leader on IEMs to hear that click. Always be ready to patch a click track feed into the monitor system when requested. Having the capability for a click in monitors helps percussion-heavy acts stay tight and synchronized, which is especially important for complex rhythms in world music and reggae fusion styles.
Hybrid monitoring setups: Recognize that some artists may want a blend of wedges and IEMs. For instance, a singer may use one in-ear monitor in one ear for pitch reference but leave the other ear open to hear the stage ambiance and crowd. Or a band might put the drummer on IEMs (to lock in with a click or backing tracks) while the rest use wedges. Be flexible and accommodating – discuss each act’s preferences in advance if possible, and be prepared on show day with both wedge monitors and IEM packs available. Many large reggae festival stages in the UK, USA, and Jamaica now carry full monitor rigs with both options, knowing that one band might insist on old-school wedges while the next uses modern in-ears.
Isolating Loud Instruments (Keys, Leslie, and Drums)
Keyboard and Leslie cabinets: A hallmark of roots reggae is the swirling organ and clavinet sounds – often produced by a Hammond organ with a Leslie speaker. These Leslie rotary speaker cabinets are beloved for their warm tone, but they are notoriously loud and project sound in all directions. To maintain a controlled stage sound, isolate the Leslie and keyboards as much as possible. There are several approaches:
– Placement: Position the Leslie cabinet off to the side or back of the stage, away from vocal mics, and angle it so its loudest face is not blasting directly at the audience (or the musicians who don’t need to hear it directly). This reduces bleed into other mics and wedges.
– Shielding: Use acoustic baffles or plexiglass shields around a Leslie or a loud keyboard amp. Much like drummers in small venues use drum shields, a partial enclosure for the Leslie can tame its spread without killing the vibe. Musicians still get the tone, and you can mic the Leslie for the monitors and front of house.
– Direct solutions: Encourage keyboard players to use DI (direct input) for electronic keyboards and perhaps a Leslie simulator pedal or rack if a real Leslie is not essential. Modern simulators can sound convincing and allow you to send organ sound through the monitor mix controllably, instead of having a 100-watt Leslie roaring on stage. If they do bring a real Leslie, work with the player on the volume settings – most Leslies have a volume control or even a “grit” knob (on tube models) that can be adjusted to tone down the stage output (www.mixonline.com) (www.mixonline.com) without affecting the sound sent to the PA.
For other keyboards (synths, electric pianos), avoid the scenario where every keyboardist brings a personal amp that adds to stage noise. Offer them a monitor feed or side fill coverage so they don’t feel the need for a separate amp. By isolating keys and organ noise, you allow the players to hear themselves clearly in their monitors without flooding the whole stage with those sounds.
Drums and percussion: Drums are another major source of on-stage volume. In reggae and roots music, the drum kit often defines the rhythm (think of the “one drop” reggae beat), and there may be additional percussionists with instruments like congas, bongos, or nyabinghi drums. To manage this:
– Drum fills vs. wedges: Equip the drummer with a powerful drum monitor (drum fill) or their own wedge, but keep its volume targeted. This monitor might include a subwoofer so the drummer can feel the bass drum and bass guitar clearly without needing excess volume in everyone else’s wedges.
– Percussionists’ monitoring: If there are multiple percussion players, consider giving them a shared wedge or in-ear system so they can lock in with each other. Often, percussion sections thrive when they mostly hear the rhythm section (drums and bass) and each other. Too much extraneous sound can throw off their groove.
– Cueing and click: As mentioned, for percussion-heavy ensembles, offer the option of a click track or cue feed. For example, at a large festival in Mexico, a samba-reggae fusion group might bring a click track in certain songs to synchronize dancers or pyrotechnics. Being prepared to send this click to just the drummer’s IEM or wedge (and not the main PA!) is a mark of a professional festival audio team. It can save a performance from train-wrecking if tempo consistency is critical.
By isolating the loudest instruments (keys, Leslie, drums) and giving them focused monitoring, you prevent their sound from smearing across the stage. “Smear” happens when, for example, a boomy organ or bass note rings on and overlaps other sounds, muddying the mix. Isolation and targeted monitors keep each instrument tight and clear.
Keeping Bass Tight and Clear on Stage
Bass is the backbone of reggae and roots music – the deep bassline drives the songs and energizes the crowd. However, that rich bass can also be the biggest culprit in muddy stage sound if not controlled. Here’s how to keep the bass tight:
– Stage amp management: Many reggae bassists love big bass amplifiers (like an 8×10 Ampeg cabinet) on stage for tone and feel. Work with the bass player to set the amp at a reasonable level and aim it properly. If the amp is too loud or points at the stage center, its low frequencies can bleed into every microphone and monitor mix. One method is to aim the bass amp diagonally across the stage or toward a side fill, rather than directly at front center, to reduce direct bleed into vocal mics.
– High-pass filters in monitors: As mentioned earlier, use high-pass filters on monitor mixes to cut out sub-bass rumble where it isn’t needed. For instance, the vocalists’ wedges don’t need 50 Hz from the bass guitar – cutting those lows will make their mix cleaner and avoid excessive boom. The bass player’s own monitor (if they use one aside from their amp) can be tailored to give more mid-range definition so they hear the notes clearly without just a wall of sub-bass.
– Side fill subs and tactile transducers: Instead of cranking up the bass in every wedge, rely on side fill speakers or a dedicated subwoofer on stage to carry the low end. This creates an enveloping bass presence that all musicians can feel a bit, without needing each monitor to reproduce deep lows. Another modern trick is using tactile transducers (like the ButtKicker or Thumper devices) which can be attached to the drum throne or a platform for the bassist. These devices literally shake and provide the physical thud of bass without any audible sound (www.prosoundweb.com). Some festival stages in Australia and New Zealand have started integrating such solutions for headliners – the drummer stands on a vibrating platform to feel the kick drum, and the bass player gets that low-frequency vibration – allowing the actual monitor sound levels to stay lower.
– Avoiding bass “smear”: Keeping bass tight means avoiding a loose, reverberating low-end on stage. Large outdoor reggae festivals (like those in Spain or Jamaica) sometimes have very powerful FOH subwoofers; if positioned poorly, the bass from FOH can wash back onto the stage with a slight delay. Coordinate with your FOH engineer about subwoofer placement and timing. Sometimes cardioid sub arrays are used to direct low frequencies away from the stage. As a monitor engineer or production manager, stand on stage during sound check – if you hear a lot of boomy, indistinct bass, work to identify the source (bass amp, monitors, FOH bleed) and adjust accordingly. The result should be that each beat of the bass is punchy and defined for the performers, helping them play tightly together.
Protecting Hearing and Managing Levels
One of the festival producer’s duties is to make sure the artists can perform without damaging their hearing or straining to hear themselves. Hearing protection and sensible levels go hand in hand:
– Set sensible volume limits: Communicate with the monitor engineer (if you’re not mixing monitors yourself) about keeping the stage levels at a safe volume. At festivals in countries like the UK, there are often regulations or recommendations to keep on-stage sound below certain decibel thresholds to protect workers and artists. Even without formal rules, it’s wise to avoid monitor mixes that are “screaming loud.” Musicians sometimes ask for more and more volume – a skilled monitor engineer will instead try to EQ or balance the mix better rather than just crank volume, maintaining a safe level that still satisfies the artist.
– Provide earplugs or IEMs: Have quality musician’s earplugs on hand and let artists know they’re available. Some performers might actually appreciate lightly attenuating earplugs if they feel the stage is loud, especially older musicians who might have hearing sensitivities. If a singer doesn’t want full in-ears, offering a single in-ear monitor or an ambient earplug (which reduces volume but still lets in sound) can help them perform comfortably.
– Consistent talkback and communication: Part of protecting ears is avoiding the chaotic volume spikes that happen when people have to shout across the stage. Set up a talkback microphone at the monitor mixing desk (and one at FOH if needed) so that crew can easily communicate with the band via the monitors or IEMs (www.prosoundtraining.com). For example, the monitor engineer can press a button and say, “Next song is the last one” or “Guitar up a bit?” directly into the artists’ ears or wedges, instead of a stage manager yelling over the music. Artists can also communicate needs between songs by approaching the monitor position and speaking normally, trusting that the engineer has a way to hear them (some use a reversed talkback where artists have a mic to speak to monitor world). This consistent talkback prevents misunderstandings and minimizes downtime or on-stage confusion, all while preventing someone from yelling into a live mic (which can cause nasty feedback).
Additionally, if using IEMs, make sure each musician’s in-ear mix has a limiter applied on the wireless pack to prevent sudden bursts of feedback or noise from hurting their ears. Modern festival-grade IEM systems have built-in limiting – double-check these are active and set to a safe threshold.
Quick Changeovers and Documentation
Reggae festivals, like most multi-act events, have to handle multiple bands in one day. Quick changeovers are the norm, and nothing earns the gratitude of artists more than an efficient, fair transition that still preserves each band’s unique monitor mix needs. To achieve this:
– Advance each act’s requirements: Before the festival, collect technical riders or at least stage plots from all the bands. Note how many monitor mixes each band needs, and any special requests (for example, “lead singer uses in-ear monitors, others on wedges” or “keyboardist needs Leslie speaker mic in their wedge”). This preparation will guide your setup – how many wedge monitors to place, how many wireless IEM systems to have ready, etc.
– Document mixes during soundcheck or line check: If you have the luxury of a soundcheck for some bands (often headliners get a soundcheck on festivals), write down or save the monitor mix settings for that band. Digital mixing consoles make this easy – you can save a scene or preset for each act, labeling it with the band’s name. Even on analog consoles, the monitor engineer should keep a notepad and jot down roughly the levels and EQ settings for each wedge per act. For example, note that “Band A – Mix 1 (lead vocal wedge): vocal +50%, guitar +20%, keys +10%, lots of reverb; Mix 2 (drummer): kick +40%, bass +30%, etc.” Having this reference means that when Band A hits the stage, you can quickly dial in something close to what they need.
– Honest resets between acts: It’s important to zero out or reset the monitors between bands, so that the next act doesn’t inherit the previous act’s quirky EQ or extreme settings. Many festivals will load a default “festival mix” or an empty scene as a starting point for each band, then tweak from there. This ensures an even playing field. If one band needed a drastic EQ notch to avoid feedback on a fiddle mic, you don’t want the next singer’s vocal to go through that same notch by accident. An honest reset shows professionalism – each artist gets a fresh mix tailored to them, not a sloppy hand-me-down.
– Fast but fair changeovers: Train your stage crew to swap out inputs and wedges swiftly but safely. Mark each monitor wedge with a number (Mix 1, Mix 2, etc.) and clearly label the stage where each band member stands. During the changeover, as soon as the new band is set up, the monitor engineer can use the documented settings to dial in their mix almost immediately. This could be recalling the saved scene or quickly moving faders to the noted levels. Then do a brief line check: have each musician play or sing and confirm they’re hearing what they need. Efficient changeovers keep the festival on schedule and keep artists happy – no one likes waiting around on a silent stage for a monitor setup, and festivals in countries like India or Indonesia often face strict curfews, so every minute saved counts.
It also helps to have a consistent monitor team. If the same engineer and techs handle all stage audio all day, they’ll get into a rhythm and remember band preferences. They might even catch details like “this next band has three vocalists who swap positions mid-set” and plan accordingly (perhaps placing three wedges center stage). By documenting everything and paying attention, you build trust – acts know that when they return to your festival next year or move to another stage, you’ll treat their mix consistently.
Tailoring to Festival Size and Culture
The approach to monitors can vary with festival scale and cultural context:
– Small local festivals: Often, budget and time are limited. You might have just a couple of wedges daisy-chained and no fancy in-ear systems. Focus on the basics: ensure each performer can hear themselves and a bit of the critical elements (vocals, rhythm) in whatever monitors are available. Keep volumes moderate to avoid feedback, as smaller stages have more bleed between mains and monitors. In small venues or community festivals – say, a folk & roots festival in a rural town – artists might be more adaptable. Still, communicate clearly: a quick huddle with the band about “What do you need in your monitor?” goes a long way. Even without high-end gear, a considerate monitor mix makes for a good show.
– Large international festivals: Big reggae festivals in Europe (e.g., Spain’s Rototom Sunsplash or Germany’s reggae gatherings) or North America come with higher expectations. Touring bands may arrive with their own monitor engineers or even their own IEM packs and custom molded earpieces. Be ready to integrate those – have spare outputs or a splitter so their engineer can hook into your system if needed, or patch their IEM transmitter into the stage power safely. Large festivals typically have a professional monitor desk with the ability to save scenes; use those tools to your advantage as described. Also, mind the cultural preferences: for example, some Jamaican artists are used to performing with towering speaker stacks behind them (old-school sound system style) and might find a modern low-volume stage strange. In such cases, courteously explain your setup and maybe let them feel a powerful side fill or give them extra low-end in one wedge just to satisfy that need for power, while still controlling overall volume. Conversely, some Western artists might only use IEMs and no wedges at all – make sure your stage crew doesn’t remove all wedges for an IEM band (they can be left off to the side) because the next reggae band on the bill might demand those wedges back on stage in a hurry.
– Communication and respect: At international festivals, language barriers can be an issue. If a band is coming from, say, France or Brazil and their crew doesn’t speak your language well, have a translator or use universal hand signals during monitor check (thumbs up for “more”, hand slicing down for “less”, pointing at instrument then pointing up or down, etc.). This ensures that even without words, you can deliver what the artists need in their monitors. Showing this level of respect and adaptability is part of the wisdom of seasoned festival producers.
Key Takeaways
- Quiet but present stage sound: Design the stage monitor setup to give artists what they need to feel the music, without excessive volume. This prevents feedback and FOH sound issues.
- Control loud instruments: Isolate or manage naturally loud gear like Leslie cabinets, drum kits, and big guitar/bass amps so they don’t overpower the stage. Use placement, shields, or direct feeds to contain their sound.
- Keep bass tight: Provide ample bass feel (via side fill subs or tactile devices) but avoid boomy low-end in every wedge, which can smear the sound. High-pass filters are your friend.
- Wedges vs. IEMs: Accommodate artists’ preferences. Many roots acts love wedges, but offer in-ear monitors for those who need precision (e.g., vocal harmonies) or use click tracks. Be ready for hybrid setups.
- Ear protection and talkback: Maintain sensible monitor levels to protect hearing. Use talkback mics and clear communication so artists and crew can make adjustments without shouting.
- Efficient changeovers: Document each act’s monitor mix and reset the stage between bands. Quick, fair changeovers with saved or noted mixes ensure every band gets their ideal sound with minimal downtime.
By diligently managing monitors, wedges, and IEMs, festival producers can create a stage environment where roots musicians thrive. The artists will deliver better performances when they hear themselves clearly and comfortably. In turn, the audience at your reggae festival will feel the positive vibes through an inspired, on-point show. Good stage monitoring is an unseen art, but it’s absolutely critical – get it right, and both the band and the crowd will experience the magic of the music as it’s meant to be.
25th August 2025