FR Stage Monitors vs Keyboard Amp

undercool

I am currently using the GNX3000 w/supermodels and am very happy with the sounds. The FOH gets the XLR(s) and I've been using various forms of 2x12s on stage (Fender M80 fx return, power amp and Avatar 2x12). I would IDEALLY like to hear on stage what the FOH is getting, so there's only two options- Keyboard Amp or some FR speakers and power.

The Behringer keyboard amps are appealing, but i'd be looking at over $200 for some good power (I'm shopping GC b/c I have $100 credit there).

On the flip side, I already have a strong power amp, and can drive some FR monitors with them. MusiciansFriend (and GC) have some great deals going on with the Kustom wedge monitors. The 2-way 12\" monitors are $80 and 2 for $150. They are well reviewed, and could also serve down the road in live situations. If I got one, I would put in my Eminence Modeling 12 and I'm thinking all would be well (although this probably isn't necessary).

Anyway, I was looking for thoughts. It could very well come down to two things- economics vs. carrying a speaker and a small rack for the amp. I'm sitting on $100, so I'm open to suggestions and experience.

Sorry so long for a first post.

-J

agelessrocker

What some guys are doing is buying a seperate powered wedge for just the onstage guitar sound, and putting it adjacent to the regular monitors that have the full monitor mix going through it. That way you can hear yourself onstage without blowing anybody elses ears out, and you can have less guitar signal sent to the full monitor mix onstage.

gtaus

I fully understand you wanting to hear on stage what the FOH speakers are putting out. In my band, we quickly dropped that idea. We found that we got too much feedback on stage if we sent the same signal back on the monitors as we put out to the FOH speakers. Now, we mix just a touch of the instruments on the monitors and go heavy on the vocals for the monitors. We set our FOH mix for the audience, but the stage monitors are more or less set for our singer(s). Again, this was a choice to reduce feedback in our case, because I have to run the mixer as well as play bass guitar.

Some bands can afford the in ear monitors and I suppose you could then send just about any signal back to your ears without worrying about feedback. We don't have the money for that upgrade. Our next step will be to get a better board that allows seperate mixes for the monitors. Right now, we have only one mix coming back on stage and that has to be the same for all of us. It would be nice to individualize the monitor mix for each musician, but our equipment is not at that level.