A hybrid monitor soundcheck checklist for bands using IEMs and wedges

Hybrid monitor setups work best when you treat soundcheck like a cue-management problem, not a gear problem.

If one player hears a detailed in-ear mix while another relies on a floor wedge, the band is not hearing the stage in the same way. The singer may need more vocal in the wedge. The drummer may need click in their IEMs. The guitarist may be reacting to amp wash, not the mix. Everyone can be right, and the soundcheck can still get messy.

The goal is not to give every musician a perfect studio mix. The goal is to give each player the minimum reliable information they need to play in time, in tune, and in balance.

Use this checklist before your next rehearsal, church set, opening slot, or small-stage gig where IEMs and wedges have to share the same room.

Start by assigning monitor ownership

Before anyone asks for more kick, more vocal, or more of themselves, decide who is responsible for each cue. Hybrid monitoring falls apart when three people are trying to solve the same problem from different places.

Make these decisions before line check:

• Who talks to the sound engineer? Pick one bandleader or music director to collect monitor requests and keep the stage from becoming five separate conversations.
• Who gets the click or guide cues? If only the drummer and tracks operator need click, do not send it to wedges unless there is a clear reason. Keep click out of open stage sound whenever possible.
• Who depends on wedges? Vocalists, acoustic players, and anyone without sealed IEMs usually need first priority for wedge clarity.
• Who depends on IEMs? Players using in-ear stage monitors need a safe, usable feed before the full band starts playing. This includes wired packs, wireless packs, and personal mixers.
• Who can play from stage sound? Some guitarists, bassists, horn players, and percussionists may only need a small amount of vocal or count-off support.

This is also the moment to agree on request language. Instead of saying, “My mix is bad,” ask for one change at a time: “More lead vocal in wedge two,” “less overheads in my ears,” or “add a little bass guitar to the drummer’s IEMs.”

Run the hybrid soundcheck in the right order

A good order prevents the loudest thing on stage from becoming the reference for everything else. In a hybrid setup, that usually means checking signal, safety, vocal clarity, then full-band feel.

1. Line check before monitor requests

Do not build monitor mixes until every important input is confirmed. Check each vocal mic, instrument DI, amp mic, drum channel, track line, and talkback or cue mic if you use one.

During this step, musicians should play normal performance levels. A whisper-level vocal check or half-strength snare hit leads to monitor decisions that will not survive the first song.

2. Set IEM volume low before sending signal

Anyone using IEMs should start with their pack or device volume low, then raise it gradually. Sudden routing changes, unplugged cables, or a hot click can be painful in sealed earphones.

Ask IEM users to put both earpieces in during the check. One ear in and one ear out gives a false picture of pitch, timing, and stage volume. If a player feels disconnected, solve that with a better mix, a little room sound, or clearer cues rather than half-wearing the IEMs.

Players using IEMs such as Soundbrenner Wave or Soundbrenner Wave Pro should also confirm fit before asking for mix changes. A poor seal can make bass feel missing and tempt the player to turn up too much.

3. Build the wedge mixes around vocals first

Wedges spill into microphones. That spill affects front-of-house sound and can make the stage feel louder than it needs to be. For most small stages, vocal clarity should be the first wedge priority.

Start with the lead vocal in the relevant wedges. Then add only what each player truly needs. A harmony singer may need lead vocal and a little keyboard. A bassist may need kick and vocal. A guitarist may need no wedge at all if their amp and the vocal are clear.

A useful rule: if a monitor request does not help with pitch, time, entrance, or confidence, question it before adding it.

4. Add IEM essentials, not a full album mix

IEM users often ask for too much because they are trying to recreate the room inside their ears. That can make the mix crowded and make the important cues harder to hear.

Build from essentials:

• Time. Click, kick, snare, rhythm guitar, or another reliable Pulse source.
• Pitch. Lead vocal, keys, acoustic guitar, bass, or the instrument that helps the player stay centered.
• Form. Count-ins, talkback, cues, tracks, or the player who leads transitions.
• Self. Enough of the musician’s own instrument or voice to play confidently without overplaying.

Once those are clear, stop adding for a moment. Have the player perform part of a real song before changing anything else.

Use this stage-ready checklist

Print this, put it in your rehearsal notes, or keep it on a phone. The best checklist is the one the band will actually use under time pressure.

1. Confirm the stage layout. Put wedges, mic stands, amps, pedalboards, and IEM packs where they will actually be during the set.
2. Name the cue owner. One person gathers monitor requests and talks to the engineer or mixer operator.
3. Line check every input. Use performance-level playing, not polite soundcheck volume.
4. Start all IEM packs low. Raise volume only after signal is confirmed and the player is ready.
5. Check click routing. Make sure click, count-offs, or guide tracks go only where they are supposed to go.
6. Build vocal wedges first. Get lead vocal clear before adding instruments into wedges.
7. Add only essential wedge instruments. Avoid turning every wedge into a full-band mix.
8. Build IEM mixes by cue type. Time, pitch, form, and self come before extra comfort items.
9. Play one real chorus. Use a loud section of a real song instead of random noodling.
10. Make one change at a time. After each change, play again before stacking more requests.
11. Check transitions. Run a count-off, an ending, and the start of the next song if your set has tight changes.
12. Lock the mix. Once it works, stop tweaking unless there is a real performance problem.

Quick drill: the 90-second monitor pass

Choose one chorus that includes the full band and vocals. Play it once. Each musician gets one sentence afterward: “I need more lead vocal,” “I need less guitar,” or “I’m good.” Make the changes, then play the same chorus again. This keeps the band from chasing opinions and forces everyone to judge the mix in context.

Keep stage volume from undoing the mix

Hybrid monitoring only works if the stage volume stays believable. If amps, drums, and wedges keep rising, IEM users will ask for more level, wedge users will ask for more vocal, and the front-of-house mix will have less room to breathe.

Start with the loudest acoustic source, usually drums, then set amps to fit that reality. If the drummer is playing at show level, the guitar amp should sit where it supports the stage without covering the vocal wedge. If the guitar amp is already too loud before the wedges are on, the monitor mix will not fix the problem.

For singers, avoid aiming wedges directly into the most sensitive part of the vocal mic. Small angle changes can reduce feedback and make the vocal feel clearer without adding level. If two singers share nearby wedges, check that one person’s request is not making the other person’s mic unstable.

For IEM players, watch for isolation problems. If a player keeps pulling one ear out, ask what cue is missing. Common answers are room energy, lead vocal, snare, or the instrument that leads the next entrance. Add the missing cue carefully instead of letting the player rely on a half-sealed mix.

Finally, save or write down what worked. Note who used IEMs, who used wedges, what each person needed, and any routing problems. The next soundcheck should not start from zero.

Hybrid monitoring is normal for many working bands. With a clear cue owner, a simple order of operations, and fewer “more of everything” requests, you can get through soundcheck faster and walk onstage with everyone hearing what they actually need.