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[Steve Garris]

After reading Luke's reply I took a peek at the ZLX and found this bargain:

EDIT: Crap! Passive version.

https://www.zzounds.com/item--ELVZLX12?siid=121233&-IYiJ8aAewOEgAGU5tGV6gfcTs7-YJCbs9mvHwMBoCTsIQAvD_BwE=

[Stephen Kirby]

The ZLX have a disco smile.  The guy I know who insists on using them for monitors is partially deaf and wears a hearing aid.  He believes he needs a ton of bottom end, probably can't hear it otherwise.  So he loves that big woofy sound he gets at sound check.  It sounds "loud" to him.  But when the whole band is going it disappears.  I've sung into his mic and could hear my Alto SXM 4 feet off to the side over the ZLX right in front of me (propped up to a steeper angle with "audio wood")  Going back to my side of the stage it was far easier to hear myself sing through the Alto than the ZLX.  I would take QSCs (which I also own) over the ZLX any day.  Decent discoized mains for cheap, but not for stage monitors.  Just my on-stage experience in small to moderate venues with the various contenders here.  I should also say that I've used the Altos on a trailer stage and outdoor "music in the park" gigs and had no trouble getting the vocals up over the band for the singers.  The narrow up a bit in the upper midrange so you don't want to stand in between a pair 6-8' apart.  I just put one in front of each mic or a pair close and angled in if someone insists on having two.  Like any other box, they do work better in singles.

[Scott Olewiler]

I am starting to piece together a small PA for band gigs in pubs and small clubs. Got a pair of K12s for mains and will be picking up an Allen and Heath MixWiz 16:2 for the board. I am needing some suggestions for stage wedges. I have a pair of peavey PM12s and a QSC GX5 that I use currently for acoustic stuff but now I am upgrading to full band I am looking for recommendations.

I was hoping to find some true wedges as I have struggled with placement of the K12s and the like as monitors because the dispersion usually means sound hits my knees not my ears and I don’t usually have the stage depth to get them far enough forward to work well. I am open to powered or unpowered really if that matters.

Thanks!

If you're usually going to be on small stages you may want to consider "hotspot" style personal monitors. 

I used a Behringer model that I've owned for months for an actual gig for first time last Friday ( I am the lead singer and guitarist in this band) and I was really impressed how loud and clear it was at the mic.   Other members of this band have tried it out previously at certain logistically challenging gigs  including our drummer and were  happy with it.

I actually keep turning it down thru out the first set as it turned out to be much louder in use with the band than it seemed when I was just talking during a quick line check.

We only run vocal through our monitors and have lower than normal stage volume overall so that should be noted.

Only issue I had was having to turn the high Eq knob completely down as it was quick to feed back if you boosted it at all. (it's set for 12khz).  Boosting that frequency really not needed for a 5 inch speaker that is two feet from your ears.

These are not for everyone but they do what you need them to do which is to  allow you to clearly hear yourself on stage and they take up a lot less room than a floor wedge, plus really cut down the stage wash. Also nice to be able to control the overall level right at the mic, especially if you use saved wedge mixes in a digital mixer like we do and typically are only adjusting  the overall level.


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[Jason Joseph]

The ZLX have a disco smile.  The guy I know who insists on using them for monitors is partially deaf and wears a hearing aid.  He believes he needs a ton of bottom end, probably can't hear it otherwise.  So he loves that big woofy sound he gets at sound check.  It sounds "loud" to him.  But when the whole band is going it disappears.  I've sung into his mic and could hear my Alto SXM 4 feet off to the side over the ZLX right in front of me (propped up to a steeper angle with "audio wood")  Going back to my side of the stage it was far easier to hear myself sing through the Alto than the ZLX.  I would take QSCs (which I also own) over the ZLX any day.  Decent discoized mains for cheap, but not for stage monitors.  Just my on-stage experience in small to moderate venues with the various contenders here.  I should also say that I've used the Altos on a trailer stage and outdoor "music in the park" gigs and had no trouble getting the vocals up over the band for the singers.  The narrow up a bit in the upper midrange so you don't want to stand in between a pair 6-8' apart.  I just put one in front of each mic or a pair close and angled in if someone insists on having two.  Like any other box, they do work better in singles.

ZLX has settings on the back. Usually the music setting is too dull and the live maybe more appropriate.. Just in case you didnt do a deep dive...

[Jon Brunskill]

RCF NX-SMA10 or 12. 
These are a bit more expensive, but every time I use them I hear 'It's the best we've ever sounded'.
The sound difference between the 10 and twelve is surprisingly small and they get loud.
Plus the Powercon in and out lets you daisy chain the power for a very clean stage.
Our buddy Mike Pyle has them too.

These are killer wedge, and the cheaper dB tech Flexsys FM12 is also a great box, incredible for the price really. Great clean, warm sound and smooth coverage.

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