A Behind the Scenes Tour of the Monitor Mixes Feature

It starts with placing the icon, not filling out a form

Most stage plot tools treat monitor mixes as a separate document you build
after the diagram is done. We built it the other way around. Drop a
monitor icon from the Monitors category anywhere on your stage in the
editor and it becomes a mix automatically, no separate
setup step required. The mix panel picks it up, numbers it in the order
you placed it, and even guesses at the type from the icon label: anything
with "IEM" in the name gets tagged as an IEM mix, anything with "side" in
it gets tagged as a side fill, and everything else defaults to a wedge.

The mix panel is where you clean it up

Once a mix exists, the Monitor Mixes panel gives you a compact table:
label, assignee, type, and notes, all editable inline. If the
auto-generated label is not specific enough, click it and rename it, "Sarah
IEM" instead of just "Monitor 3." Assign a performer's name so the
engineer knows whose mix they are looking at. Reorder mixes by dragging
rows if you want the list to match stage order rather than placement
order. None of this touches the canvas, it is purely about making the list
readable for whoever ends up mixing monitors on the day.

Sends: picking what feeds each mix

Every mix has its own sends editor, a checklist of every row in your input
list with a toggle for whether that instrument feeds this particular mix.
Check the kick and bass for a drummer's wedge, leave vocals off it, and set
a level for each checked send on a -40 to 0 dB slider. If an instrument
gets removed from the stage plot after you have already built sends for
it, the mix panel does not silently drop that send. It flags it as
missing so you can decide whether to remove it or whether it was a
temporary placement, instead of quietly losing information you already
configured.

Zooming out with the send matrix

For bands with several mixes and a full input list, editing sends one mix
at a time can get slow. A send matrix view shows every input against every
monitor mix at once, so you can scan across a row and see which mixes a
given instrument feeds, or down a column and see everything one performer
needs. It includes a one-click option to auto-fill sensible starting
levels across the grid, which is a faster starting point than dialing in
every cell from -40 dB up.

Where it ends up

Monitor mixes are not just a planning artifact, they feed directly into
your exports. Your PDF includes the mix list alongside your input list,
and if your venue runs an X32 or M32, the sends you configured here carry
into the generated console file, covered in more detail in console
exports behind the scenes. The
goal is that the mix you planned at home is the mix your monitor engineer
is looking at on the console, not a rough approximation of it.

Try it on a real lineup

The fastest way to see this in practice is to build from a template with
more than one or two mixes already in play. A worship five
piece template or a ska six
piece template both place enough
performers and monitors that the panel actually has something to organize.
For the fuller picture on how monitor mixing works beyond the tool itself,
our monitor mix guide covers the engineering
side of building a good wedge or IEM mix from scratch.