After the line check, I’ll have the drummer player a basic groove as each musician dials in his IEM Aviom mixer, after everyone gives the thumbs up, the bass player jumps in, ect.. At this point, we’ll use the most familiar song in the set to help get everyone pretty settled into their mix. This familiar pattern has improved the quality of the soundcheck/monitor set-up time.
LINE CHECK everything before performers arrive-they should never be waiting for you track down system problems. LISTEN to the monitor mix at mixer before making any changes to understand what the performer needs. LISTEN while making changes to the mix to make sure you are addressing the issue. REMEMBER the mix for next time and move from a rough to really close initial mix.
Guy’s I have to say the whole personal monitoring thing has so spoiled me! A few months ago i did a gig at a facility that just had conventional monitors. I spent 3x as much time and effort (mental and emotional) getting the monitor right compared to the house mix. Frustrating! But my philosopy is “if the band ain’t happy” the crowd for sure is not going to be happy!
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I found that setting your gain structure early on is important, along with having a set rotation for making adjustments. I usually make sure that the drummer has everything he needs of himself in his ears, then adjust the drums for the bass player, the guitarists, then the vocals. Then I move to the bass player and make sure he’s good in his ears, then adjust the bass in the drummer, the guitarists, etc. and keep repeating the process.