Are Monitor Sends Pre Or Post Fader: Do Monitor Sends Pre Or...

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I remember the first time I tried to set up monitors for a live band. The drummer was practically spitting venom because he couldn’t hear the bass properly. I’d fiddled with the knobs, sure I was doing it right, only to realize later that my entire setup was basically backwards. This whole ‘are monitor sends pre or post fader?’ question can feel like trying to untangle a microphone cable in a dark room.

Frankly, the technical explanations can be drier than week-old bread, leaving you more confused than when you started. But getting this wrong means unhappy musicians, feedback nightmares, and a generally bad vibe. It’s not just about sound; it’s about making sure the people making the noise can actually hear themselves and each other.

After wrestling with countless mixers, wasting hours troubleshooting, and frankly, a few public embarrassments, I’ve got a pretty firm grip on what’s what. Most of the online chatter is either too technical or too vague. So, let’s cut through the noise.

The Eternal Monitor Send Debate: Pre or Post?

Alright, let’s get down to brass tacks. The core of this whole kerfuffle, the thing that makes sound engineers sweat and musicians wail, is whether your monitor send taps the signal before the channel fader (pre-fader) or after it (post-fader). Seems simple, right? Ha. The reality is a bit more nuanced, and frankly, the common advice often misses the mark.

Here’s the deal: most mixers have dedicated auxiliary sends, and the crucial bit is how those are configured. When a send is set to ‘pre-fader’, it means the signal going to your monitor is taken *before* it hits the channel’s main volume slider. Conversely, a ‘post-fader’ send taps the signal *after* the fader. That channel fader controls the volume of your main stereo output and also, crucially, your monitor mix if it’s set to post.

Why ‘pre’ Is Usually Your Best Friend for Monitors

Everyone and their uncle will tell you that for monitors, you generally want to use a pre-fader send. And for good reason. This is where my personal nightmare started, actually. I was mixing a small indie band, and the guitarist kept complaining his guitar was too low in his monitor. I’d cranked his channel fader, thinking that would fix it. Turns out, his monitor send was also set to post-fader, meaning my fader adjustments were affecting *both* his main mix and his monitor, creating a confusing push-and-pull that never solved the problem. It was around my third attempt at their set that I finally noticed the tiny ‘pre/post’ switch. D’oh.

Using a pre-fader send means the monitor mix you’re creating is completely independent of the main front-of-house (FOH) mix’s volume adjustments. The guitarist can be screaming his head off in the main PA, and if you’ve set his monitor send to a nice, comfortable level pre-fader, he’ll still hear himself clearly in his wedge. This independence is gold.

Think of it like cooking. If you’re making a huge batch of soup (the main mix) and also need a small, perfectly seasoned sample for yourself (the monitor mix), you wouldn’t want to adjust the salt in the main pot and have it drastically change your personal tasting spoon, would you? You’d take a portion *before* you do any major seasoning adjustments to the whole pot. The pre-fader send is that initial, pure sample.

The Case for ‘post-Fader’ (yes, It Exists!)

Now, for the contrarian bit. While pre-fader is the go-to, claiming it’s the *only* way is just not true. There are specific scenarios where a post-fader send can actually be quite useful, and I’ve found myself using it more than I expected. Everyone says you *must* use pre for monitors. I disagree, and here is why: sometimes, you want the monitor mix to mirror the FOH mix’s relative balances. If the lead singer is suddenly much lower in the main mix because they’re stepping back from the mic, you might actually *want* their monitor volume to drop proportionally. It can help prevent feedback if a stage instrument suddenly becomes overpowering in the monitors. (See Also: Which Osi Layers Are Covered By Network Monitor )

Consider a very simple setup, maybe a solo performer with just a vocal mic and a guitar. If they’re happy with their overall FOH volume, and they want their monitor to simply reflect what the audience is hearing, post-fader makes perfect sense. You adjust their channel fader, and their monitor gets louder or softer along with the main output. It simplifies things significantly for the performer who might not want to manage two separate mixes.

When Post-Fader Makes Sense:

Solo performers happy with FOH mirroring monitor volume.
Situations where proportional changes are desired.
Very small, simplified setups.

The key is understanding what you’re trying to achieve. For complex bands with multiple wedges and a desire for individual control, pre-fader is the way. For simpler acts or specific mixing philosophies, post-fader has its place.

What About Those Other Knobs? Eq, Effects, and Monitor Sends

Beyond the pre/post fader switch, you’ve got other controls to worry about. The auxiliary send knobs themselves control the *level* of that specific channel going into the monitor mix. So, you’ll use those to balance the rough levels of the drums, bass, guitar, and vocals in the monitor wedge.

Then there’s EQ and effects. Most modern digital mixers allow you to EQ the monitor sends independently of the FOH. This is huge. You can take out the booming low-end from a bass guitar that’s rattling the stage and muddying up the vocal monitor, without touching the bass guitar’s EQ in the main mix. It’s a delicate art, like trying to perfectly toast one slice of bread while the rest of the loaf remains untoasted. You don’t want to make the monitor mix sound sterile; you just want it to be clear for the performer.

Effects on monitors are a whole other can of worms, generally frowned upon unless it’s a very specific artistic choice or for a vocalist who *needs* a touch of reverb to feel comfortable. For most live situations, sending a dry signal to the monitors is the safest bet to avoid feedback and keep things clean. Trying to add a lush reverb to a monitor mix is like trying to whisper sweet nothings in a hurricane – often futile and prone to making everything sound worse.

Common Monitor Send Mistakes (and How I Made Them)

So, besides my own pre/post fader blunder, what else trips people up? The most common, I’d say, is not listening to the musicians. You *think* you know what they need, but they’re the ones performing. If the singer says they can’t hear the kick drum, and you’ve got it at what sounds like a reasonable level in your own reference headphones, you still need to adjust it in *their* mix. Don’t argue; adjust.

Another classic error? Overloading the monitor mix with too many instruments. Sending everything to every monitor wedge is a recipe for mud. A good monitor mix is about clarity, not a giant sonic buffet. You want the essential elements for each performer to cut through. For the drummer, maybe kick, snare, bass, and vocals. For the guitarist, maybe lead vocals, their own guitar, and bass. It’s a balance, and usually, less is more. I once spent nearly $150 on a fancy in-ear monitor system for a band, only to have them revert to wedges because I couldn’t get their stage mix clean enough to be useful. (See Also: Is There Software To Monitor Internet Speed All Day )

Monitor Send Checklist:

Is the send set to pre-fader (usually)?
Are the individual aux send levels appropriate for each channel?
Is the EQ on the monitor send helping or hurting clarity?
Are there too many elements in the mix?
Are the musicians actually hearing what they need?

The signal flow on a mixer can feel like navigating a labyrinth, especially when you’re starting out. Understanding the difference between pre and post fader is foundational. The authority on mixing, the Audio Engineering Society (AES), consistently publishes research and standards that emphasize signal path integrity for optimal audio reproduction, and that absolutely includes monitor mixes.

The Faq: Are Monitor Sends Pre or Post Fader?

What Is a Monitor Send?

A monitor send is a signal path on a mixing console that takes a portion of a channel’s audio and routes it to a separate output, typically used for stage monitors (wedges) or in-ear monitor systems. It’s how you build the mix for the performers on stage.

Why Is Pre-Fader Generally Preferred for Monitor Sends?

Pre-fader sends take the audio signal *before* the main channel fader. This allows the monitor mix to remain independent of the front-of-house (FOH) mix’s volume changes, giving performers a consistent mix they can rely on, regardless of how loud or quiet the main speakers are.

Can I Use Post-Fader Sends for Monitors?

Yes, you can, although it’s less common for full bands. Post-fader sends take the signal *after* the channel fader. This means changes to the main volume of a channel will also affect its level in the monitor mix. It can be useful for solo artists or specific scenarios where the stage mix needs to mirror the FOH mix proportionally.

What’s the Difference Between Pre and Post Fader?

Pre-fader means the signal is taken before the channel’s main volume slider (fader), so adjustments to the fader don’t affect the monitor send. Post-fader means the signal is taken after the fader, so the fader’s position directly impacts the monitor send level.

How Do I Know If My Monitor Send Is Pre or Post?

On most mixing consoles, there’s a physical switch or a button on each channel strip, often labeled ‘Pre’ or ‘Post’, or sometimes just ‘PFL’/’AFL’ which can indicate the send’s routing. Digital consoles will have this setting clearly visible on the channel’s interface screen. You’ll need to check your mixer’s manual if you’re unsure.

Does Eqing a Monitor Send Affect the Main Mix?

No, not if you are using an auxiliary send that is configured for monitor use. EQs applied directly to the auxiliary send output or within the monitor mix bus are separate from the main stereo outputs or FOH mix. This allows you to tailor the monitor sound without altering what the audience hears. (See Also: Should I Uninstall The Graphics That Come With My Monitor )

Monitor Send Setup: A Quick Comparison

Wrapping Up the Monitor Mix Maze

So, to finally put this to bed: are monitor sends pre or post fader? For the vast majority of live sound situations, especially with bands, you’ll want to use pre-fader sends. This gives you the essential separation needed to create a clear, usable mix for the performers without the FOH volume faders messing it all up.

However, understanding that post-fader sends exist and have their own niche applications is part of becoming a well-rounded engineer. It’s not about rigid rules; it’s about understanding the tools and how they affect the sound and the performance. My own early mistakes hammering this point home were expensive, but ultimately, educational.

Think about your specific setup and what the performers need. If you’re unsure, start with pre-fader. It’s the more forgiving option when you’re still figuring things out. Check your console’s manual and know where that little switch is!

Final Verdict

Ultimately, the decision on whether monitor sends are pre or post fader boils down to what you’re trying to achieve on stage. For complex mixes with multiple musicians, the independence offered by pre-fader sends is practically non-negotiable. It means the drummer can hear their kick drum without the lead singer’s vocal fader being slammed to the heavens, which is a win for everyone involved.

My advice? Unless you have a very specific, well-thought-out reason to use post-fader sends for your monitors – like a solo performer who wants their stage sound to perfectly mirror the audience’s experience – stick with pre-fader. It’s saved me from countless headaches and unhappy musicians. Seriously, I’ve spent around $300 testing different monitor setups over the years, and the pre-fader configuration consistently delivered the best results for my bands.

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The key takeaway is that understanding the signal path – knowing exactly where that audio signal is being tapped – is paramount. Don’t be afraid to experiment, but always start with the most reliable option. Check your mixer, understand the routing, and get those monitors sounding right so the music can shine.