Although many exciting performances (and undoubtedly many distinctly unexciting ones) have been given in this way, the fact is that no-one is properly in control of what the audience hears. In the early days of pop and rock bands it was common to provide only front-of-house (FOH) amplification, commonly mixed from the stage by a member of the band (who, of course, couldn't hear the FOH PA properly). Suddenly, one's ability to perform well has been diminished severely by the inability to hear one's own playing.
But sometimes the acoustics on stage make this difficult. For example, in an orchestra performing on stage, each musician needs to hear his or her own instrument clearly and distinctly from the other instruments around them. But there are situations where this doesn't happen as it should. If you can't hear yourself clearly, how will you know that you're playing or singing well? In purely acoustic music, being able to hear oneself is often taken for granted. To create a musical performance, two things have to happen: your audience needs to hear you, and you need to hear yourself. We take a tour around this most crucial of live-sound subjects. Although monitor engineering is often thought of as subordinate to handling the FOH sound, in reality it's at least as important.
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