Man I DO NOT miss using snakes for analog consoles, and the sheer size that analog consoles take up. It might not sonically be as good when everything is perfect, but the ease of workflow is just insane in the digital realm vs analog.
Some shows are a lot of work. We try to capture different aspects of the process/tasks of putting together sound systems. Most events take close to 4hrs to setup... we try to condense that time into a few minutes!
Sounds great. I enjoyed watching. I run a similar sized rig (except with EV ETX active speakers), but I always enjoy seeing what others do. I always learn something.
I wish more places would wire for events with a 50A 240V twist lock for a 6AWG power cord and either spider distribution box or PA rack mount distribution box. Nicer to have six 20A outlets at the FOH amp rack and stage on one cord.
@@stageleftaudio Even though I'm running an all digital console setup now, I still use snakes. Makes for a much tidier stage to have strategically placed snake heads. One of the things I do need to do is part company with my 100ft 16/4 snake; I barely need 30ft so will likely sell it and get a shorter one at some point.
I always seem to have an issue with vocal monitor mixes in these mobile stages. Especially since the band doesn’t keep their stage volume at ideal levels
The construction of those mobile trailers adds to the complexity of producing clean/feed-back free monitor mixes. The trick is it to use an EQ on the mix (not the channel) and cut the offending frequencies. Also, make sure the mic gain is not too hot. A gain setting just a little too hot, can cause a lot of issues.
I know that the sound you're taking is from the camera mic but I it sounds amazing and Also you're not reaching Red lights on the mixer board or the amplifiers for High Volume considering that they were two thousand people. Excelent job guys 👍
Mixer board when properly setup for nominal levels is exactly the same nominal level with no changes for the amount of power set on the amps. Think of the console as a local radio station. They run the same level even when you use headphones or house party. The AMP selection and settings fill the venue with the proper sound levels. Piano man at a bar or full stadium with line array speakers and subs pounding. Sound board is at the same nominal level when done properly.
The watts are what the amplifiers are rated at for output; which closely corresponds to what the speakers can handle in RMS. If the watts were referenced as peak (what the speakers can handle - peak), this would have been around 20,000 watts. We do not use peak ratings on speakers.
stageleftaudio right! I’m just saying because every amp has RMS and peak power values. A lot of amps and powered speakers have claims to produce high output but don’t advertise that it’s truly a peak rating, which peak power means almost absolutely nothing to any audio person who’s been in the game for some time. Appreciate your videos! I operate a small production company and love seeing other companies do good work.
Good question. Digital snakes are nice, but can be very expensive to purchase. We are a sound provider, and would require more equipment to support a digital snake solution, for example... redundant stage boxes, switches, CAT 6 cabling, UPSs, rack/cases. Not everyone wants or needs redundancy, but as a provider, redundancy is required. Also, digital snakes do not work with outboard FOH gear like crossovers. We use the dbx driverack 260 for its crossover and to setup the occasional cardioid configuration. We know that some people have come up with some creative ways to work around the lack of support for FOH crossovers, however as a provider, work-arounds should never be a permanent solution. For now, we keep the snakes analog; it's cheaper, requires no electricity, and no firmware upgrades. We use digital consoles (as well as analog) for some shows. We greatly enjoy using digital, but will be keeping the I/O analog till something better comes along.
Hi sir. Awesome. I was just wondering g how you hooked up the drum kit. I have one and not sure if using the direct outs is better or just the right and left? Thank you!
Thank you for your comment. The electronic drum kit provided 8 x outputs. We used all 8 outputs as individual inputs (8 inputs) into our console. The individual inputs into the console provided much better control over the whole drum kit (something that a left and right input could not offer). Depending on the size of your console and what your expectations are, I recommend using all the direct outputs possible.
@@stageleftaudio thank you so much! That's what I figured. I'm using a berhinger xr 18 so i will be close to using all inputs lol. Love watching you. Keep up the good work sir.
Most of the receptacles at these events are rated at 15/20 amps at 120 volts. I use a volt meter to check for 120 volts (or close to 120 volts) at each circuit before powering anything on. The power available to us depends on how many circuits are available. The more circuits the better. We've had 2 events where there wasn't enough power to run the system the way it needed to be run; which resulted in circuit breakers tripping. We had to keep the FOH volume lower to ensure breakers would not trip.
FOH watts configured was about 12,000. Though, only about 4000 was actually being used. The difference between the 12,000 and 4,000 watts was to provide head-room for kick-drum, bass and other "peaks" in the music.
From what I recall, that scaffolding came from one of the big-box stores. Each scaffold could hold about 250 lbs (113.3 kg). They are considered "portable scaffolds" and sometimes have been called a "painters scaffold". They came with casters, but we do not use them. I think they are either 4ft or 5ft tall (1.2m or 1.5m).
just curious? why didn't you pull the trailer down to were you unloaded? I notice the company that delivered the stage did just that. btw i like your channel plz keep posting.
The trailer was actually moved down to the "stage" area to unload (there's no video of that part). Once the equipment for the stage area was unloaded, the trailer was pulled up to the FOH location for the final unloading of the FOH gear. Thank you for your comment.
that last shot looks really creepy with the black void at the end. you guys ran mono I suppose for FOH? and if so how you guys get around effects such as phasing or flanging? cause those require 2 channels to create the effect and if you sum or pick one side all you get is a mono signal with the phase changing constantly sounding really dull
It was very dark out there. The system is run in mono. Any instruments that require 2 channels, get 2 channels. The phasing effect is still there, it just doesn't move between speakers. A "stereo'" setup for a sound system works for some environments, but not all. Take a look at our "stereo vs. mono" video on our channel.
Centering the subs (sitting directly next to each other), provides great coverage... however, it also does not allow for sound-wave propagation; if we were to center-cluster the subs, the entire bass frequency bandwidth would be close to -9db in overall output. Having the subs separated allows for low-frequency coupling (around 55hz for this particular setup), which resulted in a much stronger output (thanks to coupling) in the bass frequency range. The center-fill full-range cabinet was never actually used. Nearly all of the guests were too far away for a center fill to be needed.
@@stageleftaudio how would you calculate that? I run a marching band and have just been running the subs about 10 meters apart. Is there some formula for the audio cancellation?
Placing the subs on the sides will cause a power-alley down the middle, and bass cancellations in front of the stage, the bass cabinets, and to the sides (out front). Centering the subs will greatly reduce the power-alley and allow much more area out front to have bass.
10 meters apart for subs is a large distance. This will produce a serious power-alley. Keeping the subs spaced closer will allow for more bass coverage, and will greatly reduce the power-alley issue. Try spacing the subs apart no more than a 1/4 wave length of the lowest frequency you want to come through. In this video, I think I had the subs setup to emphasize around the 50hz freq.
I was though the same. Using for example Yamaha 01V96i with Dante stage box you can achieve exact the same result without a couple of additional boxes and cables.
I don't get it why you bought such a short piece of a line array instead of a conventional PA. 1. You never fly the system. So what's the benefit? 2. With 3 boxes per side, a line array doesn't work properly as it supposed to be. There is a big gap in the low mids for sure.
We have a couple of videos on our channel showing the arrays being flown. Sometimes, logistics and site related matters will dictate what system we can use and how it will be deployed. The line array will produce frequencies down to 60 hz (if they are run full-range). The taller the array height equates to the lowest frequencies it can control (i.e. to aim). Depending on the event, conventional speakers could be a better choice. We use conventional speakers for a lot of events. For this event, the array was needed to push the mid-high frequencies further back.
It’s probably worth $3000 in rental (5-10% value) and $2000 in labor (bout $85/hr)... getting that much usually impossible... some companies will do this for less than 1k. You can still make a profit technically but it’s rough. This company probably charges at least 3% value for rentals and $30/hr for labor judging by the nice stuff in good shape... any less and you have to seriously cut corners.
I charge around 3k for an event without the stage. That would be with 4 dual 18's. 2 is a tad under powered for 1000 plus people. Running mono is unexeptable. Stereo fx requires stereo. Anything less is below professional standards.
Stereo is only effective for those in the center between left and right stacks or arrays. At least one third the distance out of the width left and right is placed extending backward to one and a half to twice the distance the left and right is placed apart. Stereo is not used on big concerts. The musicians requesting stereo for lead guitars' keys, synths, drum racks think they in they studio recording an album... They are not FOH sound engineers. Two thirds of your audience can only hear mids and highs from either left or right and not both so they will only hear half of what is produced.
Limitations of the stage required the speakers to be ground stacked. It would have been better to fly the speakers, but the customer did not want that.
If you want to know more about audio, try volunteering with a church in your area. These are great places to learn about sound systems. Then, try volunteering with a local sound company where you are. Some sound companies will bring in volunteers first... and if they work good (and if a position is open), some times the volunteers are hired with the company. Thanks for your comment.
I agree. But, I'm used to using 8 powered RCF line array boxes per side, cranked aaaallll the way to the top, which is easier than lifting.... And the RCF subs, 2x right under the array. I've never run my only subs in the middle of the stage, lol. Through an Allen and Heath GLD 120 or 80. Man, digital, and powered sure saves alot of cables and wires, and amps, oh, my, the amps.... Not to mention....Ours is a 2 man show, when we're just audio.
I used to have to rig a system way bigger than that every week and it was always a one man show. I just wish I had people to help like that. 4 dual 18's and 6 dual 15's along with 6 foot scafold. All big old passive boxes.
I have heard electric drums that I thought were real...and I am a drummer, so I guess it is over for the wooden set sometime soon...for all the small live shows.
@@bradmodd7856 there are many good product that feel like real drum.but on live show i choose the real drum just because it's more chalenging and fun to me to mixing it on live show...
As long as they are higher end e kits. People that try to show up to events with their $500 e kits suck. No direct outs for each drum and they sound bad.
U gotta learn to get EVERTHING on wheels load first out to last out and then reverse in to van and trailer save your back and gear too much money involved AND you’re health. Those bags are ok for light stuff ,but most things can be condensed down into one Road case. Open air gigs try to not load out til the stage is in place less work and less dragging gear around and less chance of your stuff getting damaged.
Thanks for the comment and good observations. There are a lot of logistic issues with doing large events. Unfortunately at this event, the stage was delivered late. This required us to get the gear unloaded and "staged" to ensure a timely solution with getting gear on the stage to ensure the event was going to start at the dedicated time. Also, loading a trailer (not a box truck) requires more work to ensure a safe weight distribution in the trailer. This means we are unable to load the trailer based on what needs to be unloaded first.
Actually, the frontfill was never used. It was placed there with the idea of setting it on the stage; if needed. Most of the crowd was further back, therefore the main FOH speakers was all that was needed.
Who on earth gets to an event and sets up before the stage arrives?! What a waste of time! Useless front fill. And you’re eating up tons of space in your trailer simply from the fact that your pack sucks lol
For events like this one, it takes us about 5 hours to setup. The stage was set to arrive only about 2 hours before the event was to officially begin; therefore, we had to begin setting up before the arrival of the stage. The trailer packing is for moving equipment in and out, if we were packing the trailer for long term storage, it would be packed much differently.
The sound company is always the first one there and the last to leave, unsung heroes!
Mminnmmjikkk
Man I DO NOT miss using snakes for analog consoles, and the sheer size that analog consoles take up. It might not sonically be as good when everything is perfect, but the ease of workflow is just insane in the digital realm vs analog.
You certainly have excellent gear... DIgital boards have certainly made things easier for FOH engineers.
The Sound here was amazing !!
I love the sub woofer placements. It make sense
I would love to live closer and watch this process..It would be amazing to do big shows like this.
Some shows are a lot of work. We try to capture different aspects of the process/tasks of putting together sound systems. Most events take close to 4hrs to setup... we try to condense that time into a few minutes!
This is actually a small setup. But I'd rather do shows like this. Great job guys- the sound is awesome!
Sounds great. I enjoyed watching. I run a similar sized rig (except with EV ETX active speakers), but I always enjoy seeing what others do. I always learn something.
Thank you for your comment. The learning never ends...
cool, u can really hear your worry n dedication to your craft in ur voice :) ... great vid, thanks 4 posting .
Thank you for the comment.
I wish more places would wire for events with a 50A 240V twist lock for a 6AWG power cord and either spider distribution box or PA rack mount distribution box. Nicer to have six 20A outlets at the FOH amp rack and stage on one cord.
Great job & great setup
love these kind of videos keep it up :)
nice rig
When you brought out the snake 🐍 I was just starting to hurt thinking about handling that.
It wasn't too bad.
@@stageleftaudio Even though I'm running an all digital console setup now, I still use snakes. Makes for a much tidier stage to have strategically placed snake heads. One of the things I do need to do is part company with my 100ft 16/4 snake; I barely need 30ft so will likely sell it and get a shorter one at some point.
Wow! So good
Thank you!
center your subs, theyre all on the left side
it is so good because I want to a DJ and it is a good example
Mantap soundnya
Terima kasih!
that video it very nice to watch
Thank you
Looking good, just those led pars on their annoying fast color change annoyed me a bit, but I assume the band itself brought them...
I always seem to have an issue with vocal monitor mixes in these mobile stages. Especially since the band doesn’t keep their stage volume at ideal levels
The construction of those mobile trailers adds to the complexity of producing clean/feed-back free monitor mixes. The trick is it to use an EQ on the mix (not the channel) and cut the offending frequencies. Also, make sure the mic gain is not too hot. A gain setting just a little too hot, can cause a lot of issues.
Nice Sir
good job guy's
I know that the sound you're taking is from the camera mic but I it sounds amazing and Also you're not reaching Red lights on the mixer board or the amplifiers for High Volume considering that they were two thousand people. Excelent job guys 👍
Thank you for your comment. Having enough power and setting gain levels appropriately helps with keeping the system under control.
Mixer board when properly setup for nominal levels is exactly the same nominal level with no changes for the amount of power set on the amps. Think of the console as a local radio station. They run the same level even when you use headphones or house party. The AMP selection and settings fill the venue with the proper sound levels. Piano man at a bar or full stadium with line array speakers and subs pounding. Sound board is at the same nominal level when done properly.
carry thin plywood sheets with you for use on the ground to make moving cases easier.
talk to some electricians and see about getting some large wire spools that would help with snake cable managment
This was a rare event. Normally, the stage would be ready before we would arrive. The plywood certainly help.
A cable trench would have been great.
You guys rule! I feel your pain.
It is good to know I am NOT the ONLY guy out there still using a Analog Board and racks of outboard stuff . LOL
Thanks for the comment. We find analog (and outboard) to be more efficient with workflow for certain shows than digital.
The 4200 watts and 7000 watts are those peak power ratings I’m assuming?
The watts are what the amplifiers are rated at for output; which closely corresponds to what the speakers can handle in RMS. If the watts were referenced as peak (what the speakers can handle - peak), this would have been around 20,000 watts. We do not use peak ratings on speakers.
stageleftaudio right! I’m just saying because every amp has RMS and peak power values. A lot of amps and powered speakers have claims to produce high output but don’t advertise that it’s truly a peak rating, which peak power means almost absolutely nothing to any audio person who’s been in the game for some time. Appreciate your videos! I operate a small production company and love seeing other companies do good work.
Thanks for the comment. Yes, power amp advertisements (from some manufactures) may not represent their watts accurately.
👍👍👍
Pretty clean & crisp sound. Question- couldn't those top left and right speakers be set a little higher?
There were a some logistics issues with the stage/trailer. The speakers could not be set higher (on the stage), safely.
Was wondering why you don't use a digital snake it makes setup a lot easier I use the 32 digital and I can be up and going within 20 minutes
Good question. Digital snakes are nice, but can be very expensive to purchase. We are a sound provider, and would require more equipment to support a digital snake solution, for example... redundant stage boxes, switches, CAT 6 cabling, UPSs, rack/cases. Not everyone wants or needs redundancy, but as a provider, redundancy is required. Also, digital snakes do not work with outboard FOH gear like crossovers. We use the dbx driverack 260 for its crossover and to setup the occasional cardioid configuration. We know that some people have come up with some creative ways to work around the lack of support for FOH crossovers, however as a provider, work-arounds should never be a permanent solution. For now, we keep the snakes analog; it's cheaper, requires no electricity, and no firmware upgrades. We use digital consoles (as well as analog) for some shows. We greatly enjoy using digital, but will be keeping the I/O analog till something better comes along.
Hi sir. Awesome. I was just wondering g how you hooked up the drum kit. I have one and not sure if using the direct outs is better or just the right and left? Thank you!
Thank you for your comment. The electronic drum kit provided 8 x outputs. We used all 8 outputs as individual inputs (8 inputs) into our console. The individual inputs into the console provided much better control over the whole drum kit (something that a left and right input could not offer). Depending on the size of your console and what your expectations are, I recommend using all the direct outputs possible.
@@stageleftaudio thank you so much! That's what I figured. I'm using a berhinger xr 18 so i will be close to using all inputs lol. Love watching you. Keep up the good work sir.
How can I have something like that. Am really interested
You don’t time align your subs to the mid/highs and front fills?
Yes we do. From what I recall, it was about a 3ms delay on the subs.
Wouldn’t you get better coverage if your tops were up higher ?
Yes. But for this event, further/deeper coverage was not required.
Small setup but decent
Just curious, do you have RCF subs and have used them with the HDL10's?
We have one RCF 8004-AS sub for smaller events that are used with our RCF NX45A speakers. We have not used the HDL 10a cabinets with the 8004-AS sub.
Can you make tutorial on power management..Thanks
Will try
Great event video!! And the fact they are christian band
how do you measure the power outlets? ever have a situation where your system demands more power at an event?
Most of the receptacles at these events are rated at 15/20 amps at 120 volts. I use a volt meter to check for 120 volts (or close to 120 volts) at each circuit before powering anything on. The power available to us depends on how many circuits are available. The more circuits the better. We've had 2 events where there wasn't enough power to run the system the way it needed to be run; which resulted in circuit breakers tripping. We had to keep the FOH volume lower to ensure breakers would not trip.
Audio quality is good sir and the mixing.. Total how much wattage you set for the FOH?
FOH watts configured was about 12,000. Though, only about 4000 was actually being used. The difference between the 12,000 and 4,000 watts was to provide head-room for kick-drum, bass and other "peaks" in the music.
thanks a lot sir I shall use this concept in my live sound business.
Where can I find that scaffolding? What size is it.
From what I recall, that scaffolding came from one of the big-box stores. Each scaffold could hold about 250 lbs (113.3 kg). They are considered "portable scaffolds" and sometimes have been called a "painters scaffold". They came with casters, but we do not use them. I think they are either 4ft or 5ft tall (1.2m or 1.5m).
Wow now a days we use powered subs and powered FOH gets rid of all those amps and cables and all the plugs sounded good though
Good job
put remember passive stuff i way more powerful than powered stuff
just curious? why didn't you pull the trailer down to were you unloaded? I notice the company that delivered the stage did just that. btw i like your channel plz keep posting.
The trailer was actually moved down to the "stage" area to unload (there's no video of that part). Once the equipment for the stage area was unloaded, the trailer was pulled up to the FOH location for the final unloading of the FOH gear. Thank you for your comment.
that last shot looks really creepy with the black void at the end. you guys ran mono I suppose for FOH? and if so how you guys get around effects such as phasing or flanging? cause those require 2 channels to create the effect and if you sum or pick one side all you get is a mono signal with the phase changing constantly sounding really dull
It was very dark out there. The system is run in mono. Any instruments that require 2 channels, get 2 channels. The phasing effect is still there, it just doesn't move between speakers. A "stereo'" setup for a sound system works for some environments, but not all. Take a look at our "stereo vs. mono" video on our channel.
how many manpower you are carrying ? it see only two people?
We had a total of 4.
How come your subs & centre fill weren't centred? Also, why that orientation for the fill?
Centering the subs (sitting directly next to each other), provides great coverage... however, it also does not allow for sound-wave propagation; if we were to center-cluster the subs, the entire bass frequency bandwidth would be close to -9db in overall output. Having the subs separated allows for low-frequency coupling (around 55hz for this particular setup), which resulted in a much stronger output (thanks to coupling) in the bass frequency range. The center-fill full-range cabinet was never actually used. Nearly all of the guests were too far away for a center fill to be needed.
@@stageleftaudio how would you calculate that? I run a marching band and have just been running the subs about 10 meters apart. Is there some formula for the audio cancellation?
Do you recommend placing your subs in the center of the stage rather then the sides?
Placing the subs on the sides will cause a power-alley down the middle, and bass cancellations in front of the stage, the bass cabinets, and to the sides (out front). Centering the subs will greatly reduce the power-alley and allow much more area out front to have bass.
10 meters apart for subs is a large distance. This will produce a serious power-alley. Keeping the subs spaced closer will allow for more bass coverage, and will greatly reduce the power-alley issue. Try spacing the subs apart no more than a 1/4 wave length of the lowest frequency you want to come through. In this video, I think I had the subs setup to emphasize around the 50hz freq.
what line arrays where used
RCF NXL23
Nothing like EVERYONE sitting as far away as they can. WTF???
Good observation. The public was sitting where they could get the best "seat" to see a fireworks show that followed the band.
Who makes that trailer you are using for the stage? That is awesome and super easy.
I'm not sure. It was provided by the organizers.
Nice system, good job ..what high speakers brand do you have?
Thank you. The mid/high speakers are RCF
What RCF Speakers are you using ?
RCF NXL-23A
Do you own or rent the gear?
We own all our gear.
what are you doing when the rain drops during the events?
We have lots of tarps. There's some staged behind the subs and FOH mains.
@@stageleftaudio what are your subs sitting on to keep elevated? DiY riser pad?
We placed 2x4 lumber under them. I guess these could be called DiY riser pads.
hey are you still using traditional audio equipment like analog mixer and equalizer?
Most all gear is analog. Though, we use a Driverack 260 for xover and limiting. We do use a Presonus, however only for smaller shows.
I was though the same. Using for example Yamaha 01V96i with Dante stage box you can achieve exact the same result without a couple of additional boxes and cables.
stageleftaudio hi
I am Suvrojit from India
Working as a audio technician in India now, I would love to work with you as I follow your videos regularly
I don't get it why you bought such a short piece of a line array instead of a conventional PA.
1. You never fly the system. So what's the benefit?
2. With 3 boxes per side, a line array doesn't work properly as it supposed to be. There is a big gap in the low mids for sure.
We have a couple of videos on our channel showing the arrays being flown.
Sometimes, logistics and site related matters will dictate what system we can use and how it will be deployed. The line array will produce frequencies down to 60 hz (if they are run full-range). The taller the array height equates to the lowest frequencies it can control (i.e. to aim).
Depending on the event, conventional speakers could be a better choice. We use conventional speakers for a lot of events. For this event, the array was needed to push the mid-high frequencies further back.
Waooo I like it
How much do you make for this type of job.
Each event is different. There are many variables that determine a service rate. As well, we do not reference rates on public forums.
It’s probably worth $3000 in rental (5-10% value) and $2000 in labor (bout $85/hr)... getting that much usually impossible... some companies will do this for less than 1k. You can still make a profit technically but it’s rough. This company probably charges at least 3% value for rentals and $30/hr for labor judging by the nice stuff in good shape... any less and you have to seriously cut corners.
I charge around 3k for an event without the stage. That would be with 4 dual 18's. 2 is a tad under powered for 1000 plus people. Running mono is unexeptable. Stereo fx requires stereo. Anything less is below professional standards.
Stereo is only effective for those in the center between left and right stacks or arrays. At least one third the distance out of the width left and right is placed extending backward to one and a half to twice the distance the left and right is placed apart. Stereo is not used on big concerts.
The musicians requesting stereo for lead guitars' keys, synths, drum racks think they in they studio recording an album... They are not FOH sound engineers. Two thirds of your audience can only hear mids and highs from either left or right and not both so they will only hear half of what is produced.
Dual SRX subs.
This groundstack made me cry!The christian band 2
Limitations of the stage required the speakers to be ground stacked. It would have been better to fly the speakers, but the customer did not want that.
Can someone will have the opportunity to be part of your company this is my career and I want to want to no more
If you want to know more about audio, try volunteering with a church in your area. These are great places to learn about sound systems. Then, try volunteering with a local sound company where you are. Some sound companies will bring in volunteers first... and if they work good (and if a position is open), some times the volunteers are hired with the company. Thanks for your comment.
the system is stacked way to low....
I agree. But, I'm used to using 8 powered RCF line array boxes per side, cranked aaaallll the way to the top, which is easier than lifting.... And the RCF subs, 2x right under the array. I've never run my only subs in the middle of the stage, lol. Through an Allen and Heath GLD 120 or 80. Man, digital, and powered sure saves alot of cables and wires, and amps, oh, my, the amps.... Not to mention....Ours is a 2 man show, when we're just audio.
I used to have to rig a system way bigger than that every week and it was always a one man show. I just wish I had people to help like that. 4 dual 18's and 6 dual 15's along with 6 foot scafold. All big old passive boxes.
Having electric drum is making FOH enginer life much more easier LOL
I have heard electric drums that I thought were real...and I am a drummer, so I guess it is over for the wooden set sometime soon...for all the small live shows.
@@bradmodd7856 there are many good product that feel like real drum.but on live show i choose the real drum just because it's more chalenging and fun to me to mixing it on live show...
As long as they are higher end e kits. People that try to show up to events with their $500 e kits suck. No direct outs for each drum and they sound bad.
Well that was as exciting as watching paint dry ....
U gotta learn to get EVERTHING on wheels load first out to last out and then reverse in to van and trailer save your back and gear too much money involved AND you’re health.
Those bags are ok for light stuff ,but most things can be condensed down into one Road case.
Open air gigs try to not load out til the stage is in place less work and less dragging gear around and less chance of your stuff getting damaged.
Thanks for the comment and good observations. There are a lot of logistic issues with doing large events. Unfortunately at this event, the stage was delivered late. This required us to get the gear unloaded and "staged" to ensure a timely solution with getting gear on the stage to ensure the event was going to start at the dedicated time.
Also, loading a trailer (not a box truck) requires more work to ensure a safe weight distribution in the trailer. This means we are unable to load the trailer based on what needs to be unloaded first.
and your "frontfill" is just playing for knees and shoes...
Actually, the frontfill was never used. It was placed there with the idea of setting it on the stage; if needed. Most of the crowd was further back, therefore the main FOH speakers was all that was needed.
The sound company mixer brand company
The console is: Soundcraft GB8 (24 channel).
too much power..people could've danced in front..
richard michalko who the hell is going to dance to that rubbish?
Music Islife bible bashers and nerds is the answer to your question.
Good day.
The “jesus is my boyfriend” music sucks but besides that good video
The music sucks because you don’t have a single black person there🤷🏿♂️
Who on earth gets to an event and sets up before the stage arrives?! What a waste of time! Useless front fill. And you’re eating up tons of space in your trailer simply from the fact that your pack sucks lol
For events like this one, it takes us about 5 hours to setup. The stage was set to arrive only about 2 hours before the event was to officially begin; therefore, we had to begin setting up before the arrival of the stage. The trailer packing is for moving equipment in and out, if we were packing the trailer for long term storage, it would be packed much differently.
Get a life, troll.
Mr. blonch, please link us to vids of your perfect pack, front fill, etc. This guys vid was solid and homemade and authentic. Peace Out.
Everyone's an expert...
I'm sure these guys are very interested in your expert opinion..
good job guy's