monitors for orchestra

[Mark]

Please let us know what you end up trying and how it works.

[Trevor Bjorklund]

Not that anyone is still considering it, but there is one more thing about in-ear monitors that I find super-annoying: the way it makes the inside of your head sound when you play brass... same thing happens with ear plugs.

I've used wedge monitors in large ensemble situations and pits and never had a problem with the audience hearing it because they don't really have to be very loud, just pointed at you. In fact, many of the world's top orchestras are now using discreet amplification in their concert houses.
Powered monitors are great because you can control the volume at the box instead of needing a technician to ride the board. Just don't empty your horn into it by accident. Doesn't solve the microphone issue, though. Would it work to feed the overhead directional mics into the back row (time lag notwithstanding)?

[GC]

@Bloke: It's a shame that there are concert halls that are worse than playing in a tiled school bathroom, and that great groups are forced to play in them. It may be better in the long run to start a campaign to switch venues, but I know that some situations are impossible to get out of. Best of luck.

Also, omnidirectional mikes will also pick up the brass and percussion and send them back through the monitor; how about directional microphones picking up the front rows of the strings only (if you're close to the basses, they may not be needed in the mix)?

@Trevor: I agree so long as the monitoring can be kept discreet; discretion is the key, but too often it's not properly appreciated. As for powered monitors, I agree with the ability to turn up as needed, but that's were discretion can tank. For that matter, even passive monitors usually have volume pots and can be turned down. It's much a matter of who controls what.

[imperialbari]

Is there a delay to digital sound?

If not, what about directional microphones on each string section leader including the lead double bass are mixed into a laptop that transmits Bluetooth to small self-powered monitors mounted on vertical tubing of the music stands of the musicians needing this aural guide. Some filtering could be applied to take out booming noises. The resulting sound out of the small monitors will not be beautiful, but the high frequency chiffs will come through, and it is those we react to, if we can hear them.

The investment during tests maybe can be kept down if the players at the receiving end bring their own computer monitors.

Klaus