Thanks a lot gentlemen, I have also found out not using wedge monitors helps a lot in small rooms. I just face monitors back right behind my mains, and maybe give the drummer a fill. this has seemed to solve my small room issues. As far as big stages,.. well im still working on getting there smiley20
I have also found that using small, stand mounted, Spot Monitors works well for vocals.
As long as the vocalist isnt moving round allot. Positioning of the monitor for the best rejection area of the mic's polar patern is easy and because you have the monitor close to the performer it can run it at a far lower output level than with a floor monitor. This helps reduce the previously mentioned "monitor spill".
In ear monitoring has also become more popular. But I think performers have a love/hate relationship with them.
Working with the band members closely is not something to underestimate. In small room setups I tend to ring the monitors out and then turn them off. I get the band to play a number with no monitors then stop and talk to them. Ask them what they can't hear. Then use the monitors to fill in the gaps. In small room setups it turns out in many cases that a full blown "FOH copy+ them" monitor mix just is not needed. You end up with a far lower on-stage sound level and less feedback issues.
(Especialy with vocals) take the time to go on stage and stand behind the performer to hear what they do. Some performers will know just what they want but may not have the experience to ask for it. You can help them by using your ears to give them a balanced mix from the monitor that will make them far happer smiley20
Obviously in larger venues you will have a monitor mixer and eng to cover this.
I always use a Bheringer Feedback Destroyer (automatic digital EQ) for the monitor mixes. That saves a lot of trouble in a live mix.
A lot of feedback problems can be solved by good microphone technique = IE:
Keeping the mics directly pointing away from the monitors.
Keeping the mic close to the sound source (Mouth????) to reduce the amount of gain needed.
NEVER holding the mic like some renegade gangsta rapper - Cupping the basket of the mic stops the cardioid directional feedback rejection properties of the mic from working properly, and turns the mic into an omidirectional one that will cause endless squeals on stage. It might look good on a video but its less than cool when your in a small venue. smiley1