NOVA Stage Monitor Take Exceptional Stage Monitoring to Your New Level
Your Leading Stage Monitor Manufacturer

Designed for demanding tour sound stage monitoring requirements, concert and broadcast events

Stage Monitor Manufacturer

Use NOVA Stage Monitors to Take Your Monitor Speaker to the Next Level

NOVA is one of the professional Stage monitors manufacturer. Stage monitor also called monitor speaker. As golden member of MADE-IN-CHINA, and as an Audited Supplier proved by SGS, NOVA manufacturers 12″ stage monitor, 15″ stage monitor, 12″ coaxial stage monitor, and other stage speaker systems. NOVA’s stage monitors offer smooth and clear, clean sound quality to the performance. Use NOVA stage monitors to take your monitor speaker to the next level.

Please send your enquiry, you will get awesome products.

SRX712M 12 inch Stage Monitor

NOVA SRX712M is a 12″ passive 350 Watts stage monitor speakers designed for your performance. Portable and compact SRX712M stage monitor speaker composed by one 12 inch powerful woofer and one custom-made compression driver unit, it offer clean and clean sound for artists.

LE1200S Monitor Speaker

LE1200S monitor speaker can deliver clarity, volume and clean sound quality for artist DJs and singer. High output monitor speaker LE1200S built by a high output woofer and a custom-made 1.75″compression driver unit.

PS12 Monitor Speaker

PS12 monitor speaker provide great sound quality with wide sound coverage. The singers and artists will like to come back to performance on your stage because NOVA’s monitor speaker can make them hear very well.

M12 Full Range 12 inch Stage Monitor

With high output and high sound quality but  low distortion features, NOVA’s M12 two way compact and full range 12 inch monitor speaker become a key role for the connects performers to the audience to offer wide sound coverage.

NOVA: Your Leading Stage Monitors Speaker Manufacturer in China

Have you been have experience for that so big different feeling between usual than when you sing on the stage? Have you felt your voice is too big different than you sing at daily when you sing at the stage? Why? It is because if you use right stage monitor speaker when you perform at the stage. The stage monitor speakers play an important role in the performance for a singer or musicians.

NOVA is a professional loudspeaker manufacturer in China and we good at stage monitor speaker. NOVA tend to offer you one-stop solutions for stage monitors for your audio projects with professional engineer and technology department and also key point for  competitive price.

NOVA’s stage monitor is specializing for on-stage performers, singer, musicians, vocalists and instrumentalists and bands. NOVA’s stage monitors can offer the lead vocalist which amplifies their singing voice so that they can hear it clearly and clean for they could make a perfect performance.

NOVA manufacture wide range of stage monitors are designed for demanding tour sound stage monitoring requirements, concert and broadcast events. NOVA has a range of stage monitor speakers (SRX712M, SRX715M, PL12M, PL15M and DP15M) suitable for singers or musicians at any venues application. NOVA has the designing and manufacturing experience and knowledge necessary to support your business.

NOVA’s stage monitor speaker is a real friends for singers and musicians in a coffee house or singer-songwriter stage for a small bar, or in a large club where rock bands play and larger clubs and concert venues.

NOVA’s stage monitor speakers deliver extremely high SPL whilst being extremely resistant to feedback and smooth frequency response for clear and clean sound. The monitor speaker of NOVA ACOUSTICS delivers exceptional performance from a small bar to large concert.

Please drop us an email for your monitor speaker requirement now!



  • BT210K 10 inch Compact Line Array
    • 10″x2+3″
    • 700W RMS power
    • High SPL low distortion
    • Two 10 inch BEYMA woofers
    • One 3 inch BEYMA compression driver unit
    • Over 15 year manufacturing ad sales experience in loudspeaker
  • C210 Dual 10 inch Line Array
    • Flagship dual 10 inch line array for over 10 years
    • Two 75mm voice coil BEYMA brand woofers
    • One 3 inch BEYMA brand compression driver unit
    • Deliver High fidelity sound quality
    • 10″x2+3″, 2800W peak power
  • D Series Class-D Amplifier
    • 1U rack compact amplifier
    • Including 2 channels and 4 channels
    • Light weight but high power and stable
    • 2 years warranty
    • From 800W to 3000W each channels @8Ohm
  • Flight Case
    • Custom-made different size and color flight case for you
    • You only need to offer us your drawing with dimension
    • High quality flight case hardware accessories
    • Stable wheels for flight case safe during transport
    • Over 15 years of manufacturing and sale experience
  • C212X Dual 12 inch Line Array
    • 12″x2+3″, 2-way
    • Two 12 inch BEYMA woofers
    • One 3 inch BEYMA compression driver unit
    • Compact but powerful line array
    • 900W RMS power

NOVA Stage Monitor Speaker

NOVA acoustics is a reliable manufacturer and supplier in China. NOVA has a more than 15 year of professional speaker system experience and technology team for your different venues performance.

A stage monitor speaker also called floor monitors, stage monitors, and stage monitor speaker is a performer-facing speaker which is wedges with angles shape. It used for singer, musicians, instrumentalists and vocalists at stage. Stage monitor speaker can made singer hear the sound and music more clearly during performance.

NOVA stage monitor speaker features high quality and more clean and stable sound quality. If you are looking for high demanding tour sound stage monitor speaker for your high requirements living event or concert, Please remember to contact NOVA.

Our Stage Monitor Speaker are composed by a high quality plywood cabinet with environmental coating and customs-made compression driver units and woofers. The Horns of NOVA’s stage monitor speakers are made of ABS which delivers more clear and clean sound for the stage monitor speaker.

With over 15 year of experience workers and engineers, NOVA focus on sound quality sound. We offer good service and certified manufacturer of a stage monitor speaker with other professional speaker audio equipment.

NOVA also manufacturer line array, subwoofer and other professional speakers and amplifiers, mixers for your audio market, also have driver unit and hardware accessory for your special demands. Please just send your demands for your applications, and we will give you our suggestion.

NOVA can be your best stage monitor speaker and professional speaker business from China. If you have any questions or need any help for other products, please feel free to contact us, NOVA has 24/7 to handle your inquiries.

Stage Monitor Speaker: The Ultimate FAQ Guide

I know you are looking for high quality stage monitor speaker for your high demands performance.

Or, Maybe you want to know more about stage monitor speakers.

That is why this guide answer all questions you have been asking about stage monitor speaker or the technology of stage monitor speaker.

This guide will help you know more for your stage monitor speaker in the performance.

1-Why Need Stage Monitor Speakers?

When the performers performing on the stage, though every musician have already own their professional stage speakers, there are usually independent monitor speakers (Monitor) for each musician or singer. Maybe some people are not used to and like listening to it, but it can help musicians a lot during the performance.

First of all, stage monitor speakers are speakers configured by musicians who can hear themselves or other instruments that they need to listen to when they are performing. And the also need to listen the music and what they sing.

But having a monitor speaker does not mean that the sound level on the stage will be the same as that of the offstage!! Because the stage monitor speaker is for each musician to listen to the instrument or sound he needs, instead of putting the sound of the outside audience on the monitor. .

And when there are monitor speakers, the balance of the sound on the stage becomes more and more important!! Because when the many musicians and singers on the stage start to perform, all the stage monitors speakers emit sound at the same time. How many speakers will there be? It’s nothing when the stage is quite big, and it’s horrible when the stage is smaller. Too many speakers cause crosstalk between the instrument and the musicians, but it’s obviously the guitar track. The sound of the Bass, the microphone of the lead singer has the bass of the bass drum, the sound of the snare drum’s microphone gives bursts of high-pitched feedback, etc… And the people who standing in front of the mixer has a hard work for the sound performance.


Usually before the singers and musicians are on stage, the audio staff will set the volume of each monitor to a benchmark within a reasonable range. Of course, this benchmark usually varies from person to person, but it will not be too loud. It’s not too low, basically it can be heard clearly, and each musician’s monitoring is usually based on his own instrument to set the volume of other instruments.


For example: If I am a guitarist. When the volume of my guitar monitor is 6, then I want to hear that the Bass should be 4, the drum sound should be 3, and the lead vocal volume should be 5, using this distribution ratio. Set the sound required for the monitoring, and set the monitoring volume at 2 to 3 steps away from the monitoring. It is enough to hear the volume.

2-How to Tune the Stage Monitor Speakers?

In a concert, you will find that there are usually two or four stage monitor speakers in front of the stage. Don’t think that these stage monitor speakers are just randomly placed. They need to work separately, and there are several combinations of two or four speakers.

Today we will make instrument how these stage monitor speakers are used in combination.

Generally, in each musician’s own stage monitoring speaker system, the sound of his own instrument is adjusted first, and then the sounds of other related instruments are allocated. The purpose of this is to satisfy the balance of the sound and facilitate the musicians to express their musical feelings. But in the process of system establishment and adjustment, why is the sound bad?

Let’s take it apart step by step. A microphone picks up the sound and sends it to the monitor speakers. In this way, there are several conversion processes in the “physical” and “physiological” process: sound energy → kinetic energy → electrical energy → kinetic energy → sound energy.

During these energy conversion processes, there will be “transmission distortion”. We can use an equalizer to correct these distortions to make the sound close to what we can satisfy.

However, when the sound is adjusted, there will be an “efficiency problem”, that is, the original 100% of the sound is broadcast from the speaker, and after the correction, there may be only 70% ~ 80%. At the same time, the microphone not only receives your own voice, but also the sounds of other musicians on the stage, such as the direct sound of drums, bass, and guitar, as well as the reflections of the stage floor and the roof, etc., such sounds It is not what we originally wanted, so we call it the crosstalk to noise ratio.

These crosstalks are mixed with 70% ~ 80% of the effective sound in the monitor speakers, plus your ears directly hear the direct sound of each instrument. After averaging, the rest is the sound you really want.


Therefore, appropriately increasing the number of monitor speakers, improving the performance of the speakers, and using high-power amplifiers are all to compensate for the dynamic deficiencies of the required sound. Let’s take a preset system such as Vocal (also playing guitar), Bass (also playing chorus), Drum set, Keyboard (also playing chorus) as an example:



Adjusted the maximum sound pressure ratio of the lead singer’s voice on the four stage monitor speakers, including adjustments for preliminary feedback suppression. The two stage monitor speakers can be used in stereo mode “L”, “R”, or one of the speakers can send Vocal and the other speaker can be completely instrumental; if it is four stage monitor speakers, the arrangement is more flexible and can be divided into outer zones. , Inner zone, Solo mode or Stereo mode, etc., are completely dependent on changes in demand, but will increase the output port and power amplifier of the mixer.


Grab the volume of the guitar so that it does not exceed the human sound pressure ratio.

Setup 2.1

Modify the sound quality of the guitar’s basic monitoring volume to make the guitar feel right. This volume setting is the volume ratio of the guitar when it is set against the rhythm.

Setup 2.2

Adjust the guitar volume pedal and the volume knob of the guitar to the maximum volume required for interlude and solo, because after the previous basic sound is set, the data on the mixer should not be changed as much as possible, so as not to affect the monitor speakers It’s best that the sound pressure ratio of solo and interlude is controlled by the musician himself. The live tuner only needs to increase or decrease the control level appropriately.

Generally, when a guitar is played at a high volume, it will have different levels of effects due to different types of music, but the sound will be louder than when it is a rhythm guitar to satisfy the sense of prominence. At this time, we can reduce the EQ treble part of the channel a little bit to converge, and when the solo time has passed, the guitar sound returns to the rhythm-based volume, and then restore the sound quality to the original parameters.


Of course, not every song is suitable for this adjustment, but before the final performance, the monitoring system on the stage must be processed.


Add a series of drum sounds, such as bass drum, snare drum, Cymbal and other instruments that maintain the rhythm, and adjust the appropriate level according to the standards required by the individual.

In addition, when in the same place or at the same time, there are many microphones receiving sound, each microphone will receive the sound of other surrounding instruments in addition to the sound of the instrument itself, and when you send the sound of these microphones to the monitor In the case of speakers, the monitor speakers will determine the volume ratio of crosstalk due to the number of microphones.

This is very important because this ratio will affect the efficiency and clarity of the monitor speakers. When this efficiency ratio is greater than 1/2 of the actual maximum efficiency ratio of the monitor speakers, the applicability of this group of monitor systems cannot be trusted. Because the effective value of its voice is not accurate.

3-Why did you ask this question in step 3?

The reason is that a set of drums has 9-10 microphones, and the distance between them is not more than two meters. The crosstalk effect ratio is already very high. In addition to noise suppression for each microphone, we can combine the bass and snare drums. , Rhythm cymbals and hi-hats are sent to the musicians’ monitors evenly according to personal requirements. If the microphones of other drum kits are not the most important under the premise of stable music, it is best not to add them to the monitor speakers, which can reduce the crosstalk ratio.


Add bass reference sound. For bass needs, the root sound is clear and continuous, and the pitch is naturally safe. Therefore, in different situations, if the bass sound can be heard clearly, you can quickly understand the clarity and turbidity ratio on the stage.


Add the sound of the keyboard (set off next to the guitar, and do not exceed the sound pressure of the guitar). Because in the music process, sometimes when you go to a certain piece of music, it will fluctuate due to the feelings at the time, and the size of the volume ratio is expressed by the keyboard player himself. It is the best to control the volume at that time, so the overall monitor speakers It feels more humane. This is different from the feeling conveyed by using the volume control to increase the volume, and the former is more resistant to hearing.

After completing these steps during the adjustment process, listen to how your monitor speakers feel during the rehearsal, and then fine-tune the monitoring part with the monitor tuner. It is best to have more than 1/2 of the outfield, or play it at a normal volume. Simulating live performance is the best. The bass part is best to be broadcast at full power. Adjust the proportion of the sound reflected from the outside field, and then start to get used to that feeling.

Because of the time difference, it’s like adding a little overtone effect to each instrument, and the volume of the monitor speakers not only compensates for the balance required in the space, but also has the function of suppressing overtones, but it will never be 100%.


The keyboard harmony and bass harmony are added, and the positioning flexibility for the lead singer is very large. If the monitor speakers are in stereo mode, the harmony of the monitor speakers can be placed in the position of the stage to create a point and line stereo sound field. feel. If the monitor speakers are monophonic, the harmony of the monitor speakers will only increase or decrease the sound pressure.

No matter what method is used, the sound can be heard as much as possible, so as not to affect the overall situation when the dynamic sudden increase. The above method is only for the analysis and reference of the process of setting the front monitor speakers, not all settings are like this.


Next, let’s get to know Side-Fill (side compensation):

When you leave the lead vocal position, there is a blind spot in the monitoring, and therefore the Side-Fill of the side speaker will be extended.

In general live performances, the Side-Fill speakers are almost always placed on the left and right sides of the stage, but the height is somewhat problematic, and due to the structural design, there is no extra space on the stage for Side-Fill suspension . In addition, in engineering operations, if the Side-Fill speakers are suspended, it will be a resource-consuming thing. Therefore, only stacking the Side-Fill speakers is the fastest way to solve the engineering needs at present, although the result It’s not perfect.

4-What is the difference between suspended and stacked placement?

A standard side-fill combination usually adds subwoofer, so you can know that the music dynamics it wants to present are holistic. These sounds will be affected by the decoration, scenery, musical instruments, etc. on the stage. All these conditions will affect the performer’s perception of the left, right and behind.

Normally, the direct sound of the instrument is behind or beside the lead singer. It is not enough to use the monitor speakers directly in front. Set up Side-Fill speakers to compensate for the spatial blind spots of the singer when moving left and right.

5-How to Make the Stage Monitor Speakers in the Side Play as Much as Possible and What do They Do?


The Method of Direct stacking on the Ground

Although this method is very convenient and quick to set up, move, adjust the angle, etc., but the sound from the side reaches the middle position, the effective sound pressure must first compete with the direct sound pressure on the stage, which is usually nothing.

When you try to increase the sound pressure to an acceptable level, the bass player’s musical balance ratio on the stage is completely gone (when the bass player is next to Side-Fill), and then he will ask to try to increase With their own monitoring volume, the keyboard player will increase his own sound pressure due to the side-fill overtones to overcome this phenomenon. The direct crosstalk ratio of the drummer is the largest and the impact is the deepest. When the sound pressure on the stage changes, The clarity of the sound in the drummer’s headphones or monitor speakers will be affected, and the data will be changed from time to time, which is very difficult.


Although the symptom treatment method is good, it cannot completely solve the problem. In the end, everyone only accommodates each other at the critical point of each other, and the problem still exists. So now this kind of Side-Fill sound will not be loud, and only the singer can hear it when he walks to the side of the stage.

Suspension method

The advantages of the suspension method are too many, the only disadvantage: the erection is time-consuming, and the hardware cost is higher.

Let’s talk about the benefits of suspension. When the sound of the side speaker is directly passed through from above, the effective sound pressure conflicts with the direct sound on the stage will be much less, and the relative available sound pressure will be more. You can easily feel the Side on the stage- The sound range compensated by Fill does not have to be close to the speaker to have that feeling. Because it is in mid-air, the sound directly crosses the bass player and does not directly affect others. This Side-Fill is the fundamental principle for the end of the stage sound field problem.

Strictly speaking, the function of Side-Fill can be regarded as a group of small PA systems on the stage. In terms of a single-sided stage structure, it is divided into: built-in and external.

Built-in Style

The so-called built-in erection means that the sounding range is on the stage of the performance, and the sound ending area is also within the range of the stage.

Whether the built-in effect is stacked or suspended, the side-fill sound on the stage is considered close by stage performers. It does not express the sense of distance between the live music and the audience. Most of the way it is used is Bring back the rational improvement of the singer’s under-listened instrument level.

External Style

The external structure is the sound field effect closest to the sound feel of the outside field, which can give the performers on the stage a full sense of the overall music, whether from the distance or the sound pressure, the adjustment is very good. It is usually combined with PA speakers, which is also the earliest side-zone speaker system.

Therefore, the hardware construction and coordination in advance will affect the construction quality. When everything is correct, the external Side-Fill speaker is on the inner side of the stage, facing the inner area of ​​the stage and the outer edge of the stage. When adjusting the external Side-Fill, there are some steps. First, the data of the overall music content of the outfield PA Sent to the external Side-Fill speaker, the sound does not include harmony and effect sound, only the sound of the band; then according to the performer’s balance of each instrument on the stage, increase or decrease a certain instrument as appropriate Sound data.

In a standard, good stage monitoring system, nothing more than a built-in suspension Side-Fill and an external Side-Fill two systems are used together.


6-What is the Basics and Skills of Stage Monitor Speakers?

During a performance, there are usually 2 to 4 stage monitor speakers in front of the stage, so let’s try to figure out how to combine these monitors and send them back.

Typically, each musician’s hearing aid first tunes their instrument or sound and then distributes the sound of the corresponding instrument. This allows the person’s ears to suppress noise from different places. Why is the sound uncomfortable when installing and configuring the system?

Let’s say you’ve split it into layers and the microphone picks up the sound and sends it to the stage monitor’s front speakers. It has different effects on “physical” and “physiological” processes.

  1. Sound energy (a unit of sound on stage, such as a human voice and musical instruments)
  2. Kinetic energy (the microphone that picks up this sound, the function of its opening, the alternation of the moving coil and the magnet creates a small signal voltage)
  3. Electricity (a small voltage signal is sent to a power amplifier through a mic preamp or mixer and the signal is amplified by several tens or more before being connected to the speaker).
  4. Kinetic energy (the voice coil and the speaker magnet change the voltage considerably, generate kinetic energy and push the paper cone)
  5. Sound energy (paper cones can create sounds that the human ear can hear to amplify)

Transmission distortion has already occurred in several processes and all conversion bandwidth requirements must be within the response range of 20Hz to 20kHz. Transmission distortions are not inaudible. Using a mixer equalizer (a simpler term for dividing sound into highs, mids, and lows) allows you to choose a sound close to what you might encounter.

However, there are problems with the effectiveness of the volume control and the original sound of the speaker may be 100% louder and, after adjustment, its efficiency may be 70-80%, but it is not. It counts as a microphone except for picking up your voice. It also accepts sounds from other scenes such as live percussion, bass amps, GT amp decks, and rooftop reflections. This kind of sound is not original. Since this is a process, it is known as the relationship between sound and string.

7- How to Adjust the Stage Monitor Speakers for performance?

One situation is with the stage monitor speakers being very close to the microphone. Operating the monitor speakers with an amplifier driven by the main speakers creates feedback problems. You need to understand the interaction between speaker and microphone connections and amplification. Can you predict what will happen if you turn up the volume? The monitor speakers are closer to the microphone than the main speakers and point directly. With microphones, feedback comes first, then the main speaker. This limits the gain of the entire stage monitor system.

Stage Monitor Speaker

To fix this problem, you should set your volume control on your stage monitor speakers or, if possible, connect them to another amplifier. This link allows you to adjust the volume of your speaker system without affecting other devices. Therefore, the stage monitor speaker gain has no effect on the main system.

Modern mixers have the flexibility to control and control independent stage monitor speakers


Adjust the main speakers first, then adjust the return volume.

The sound of stage monitor speaker may be too loud to observe. As the sound pressure of the stage monitor speaker increases, the clarity of the main professional speaker decreases. When the returned sound reaches the singer, it continues to bounce off the wall, and the last sound the audience hears is the mixed sound of that reflected sound and the main system. Reflected sound degrades the sound quality, if this effect occurs in the main system, it indicates that the reflected sound is too loud. Solving this problem is not easy.

The sound engineer must tell this truth to the artist, and both parties must understand this relationship. Above all, the key is to select the correct return housing and its location; Second, balance the sound from the main speaker first, then start adjusting the return volume. This way, you can keep the feedback level as low as possible if you make sure the performer can hear and hear enough.

The mixer must have sufficient AUX return output.

Most of the monitor system (return system) is controlled by the AUX output of the mixer. A mixer can be simple or complex, but at least it should be enough for the tuner to control the monitor and main amplifier systems separately. The AUX output is routed to the power amplifier of the return speaker. In addition, returning an active speaker makes it easier to set up a return, especially when the speaker cable is not routed properly.

Connect a microphone cable from the AUX output of the mixer to the speaker. If your mixer doesn’t have enough return output, you may want to consider using an audio splitter. The turntable output is split into two channels, one in the mixer and the other directly in the active return.

For Example: How to adjust and operate the stage monitor speaker in the opera performance

Stage monitor speaker is very important in opera productions. Since opera music does not have a fixed rhythm, it emphasizes the collaboration between the singer and the group. The voice and the accompaniment are dense and sometimes loose, which requires a tacit understanding between the group and the actors. In opera music, singing is the main element and the actors cannot sing at a fixed time on the instrument, on the contrary, the group must follow the actors to accompany the melody and the hearing aid becomes the communication bridge between the group and the music.

If the drummer and the teacher cannot hear the actor singing, the actor cannot hear the sound and rhythm of the main string instrument of the group, coordination problems arise and the accompaniment and voice cannot be heard. They cannot be synchronized in harmony.

Most sound engineers prefer to use a mixer’s group output to send signals to monitor speakers. This makes the music and vocal ratio of the main PA speaker compatible with the rear speakers. The stage monitor / main subwoofer ratio is not the same and this can easily lead to howling. Using the auxiliary output of the mixer to send the signal to the rear speaker, the signal received from the rear speaker and the speaker signal setting of the main audio amplifier can be independent of each other and can be independent from each other according to the requirements of. The actors and the group are hired so that the group and the actors are satisfied. Note that the Aux output must be selected after the mixer fader.


A few Tips: Get MORE Better Effect for Stage Monitor Speaker:

  1. Keep the stage monitor speakers at right location which is the most important factor.


1) Every artist needs to hear their own voice.

2) Stage monitor speakers should be placed close enough to be tactile. The closer you are to the stage monitor speakers, the louder of the sound you will hear. The main advantage of personal monitor speakers is that they can be placed very close to the performer so that this feature can be fully utilized.

3) Monitor speakers should be placed behind or behind the microphone.

4) If the stage monitor loudspeaker is very close to the microphone, its volume must be reduced so as not to create any amplification that affects the entire monitoring system.


  1. Use a unidirectional microphone. There are many brands of microphone out there and they are all very different. So choose a few brands of microphone if possible.


C, balance the system

1) Gradually increase the volume of all microphones in the PA system until the howling ringtone starts ringing. Boost the frequency and the associated octave band. As you repeat this process, keep talking to the entire system until you immediately hear a loud voice.

2) If high volume is required, try to reduce all frequencies in the surveillance system below 150 Hz. Because low frequencies are not directional, control systems rarely use low frequencies, and low frequencies can be heard all over the stage.

  1. Distortion Problems: If your stage monitor speakers are distorted, you may not have power amplifiers. It is necessary to use an amplifier in the hearing aid or to lower the low frequencies.
  2. Do not connect or disconnect if the stage monitor speakers are working. The amplifier can be short-circuited and damaged.


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