I spent many years as a dedicated Mon engineer before switching back to primarily Sys Tech work. There are definitely times were it’s very difficult to pin down a specific frequency that’s wanting to take off. Sometimes it’s because the stage volume is out of control on the band side. Sometimes it’s the 28 Adamson 119’s spread across the front of the stage that are shaking your entire being so hard you start to phase shift into another dimension. Sometimes there’s just weird shapes around Mon world that cause enough phase shiftyness that nothing in that space sounds the same as it does on stage, and everything becomes an educated guessing game.
TLDR: I can think of a few reasons why having a reference mic directly on a cue wedge could be an awesome thing. If it elevates your ability to create better sounding, more stable monitors, more power to you!
I spent many years as a dedicated Mon engineer before switching back to primarily Sys Tech work. There are definitely times were it’s very difficult to pin down a specific frequency that’s wanting to take off. Sometimes it’s because the stage volume is out of control on the band side. Sometimes it’s the 28 Adamson 119’s spread across the front of the stage that are shaking your entire being so hard you start to phase shift into another dimension. Sometimes there’s just weird shapes around Mon world that cause enough phase shiftyness that nothing in that space sounds the same as it does on stage, and everything becomes an educated guessing game.
TLDR: I can think of a few reasons why having a reference mic directly on a cue wedge could be an awesome thing. If it elevates your ability to create better sounding, more stable monitors, more power to you!