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One important aspect of stage performance for non-classical singers is stage monitoring. Amplified instruments along with drums often compete in frequency and sound level which affects the audibility on stage, both in detail and as a whole. This study qualitatively examines the non-classical singer’s creation of vocal expression linked to stage monitoring by collecting experiences from both singers and sound engineers. A survey answered by 40 singers, equal men and women, and interviews with 2 sound engineers aims to display the conditions of the matter where the ability to skilled and responsive communication is essential. This is the main theme of the study.

The topics discussed are non-classical singers’ creative expression linked to audio technology and vocal pedagogy, conditions of audibility in stage performance such as acoustics, genre and technical equipment used for stage monitoring. Due to audibility on stage, changes occur in the voice’s amplitude, dynamic range, timbre and pitch. Poor monitor sound make singers uncomfortable when the focus gets placed on problem-solving rather than creating an artistic expression for the audience. Adjustments in stage monitoring during a live show requires communication between the singer and sound engineer, either hidden or in plain sight, depending on the overall condition of the performance. This study suggests that stage monitoring therefore affects the quality of stage performance.

Loudspeaker monitoring tends to create high sound levels on stage and due to the directional characteristics of these speakers, the singer is limited to the “sweet spot”. In-ear monitoring on the other hand is less harmful to the ears, provides a more detailed monitor-mix independent of a sweet spot. However, this creates a sense of absence as well as musical and social disconnection. A design study has therefore been constructed using a stage monitor with an unconventional directional characteristic both vertically and horizontally.