as a dj who runs a full passive system including a full light show by my self, I can truly appreciate the work you guys put into this. ., its like setting up a full mobile recording studio for a live performance. .and with that presonus, it litterly is[if you choose to record it] [way more dificult than what i do] but right up my alley. . awesome work guys
Great job! You chose the right equipment for the venue and style of music, not overkill. I wish I could keep the band focused for sound checks, they often times don't realize how important that 15-20 minutes is. Every venue is different and just moving equipment around from one set up to another affects settings slightly and sometimes a great deal. I appreciate watching your set up it just proves I'm not overthinking my set up, details do matter. I like your mix and all instruments were sitting in place well from the short recordings.
I used to do what you guys do First in last out of a venue, it takes a toll on your body, how do you guys keep on doing what you do wrk in week out for the last 10 years has got me, well done for your dedication and commitment to the Live music industry
27:17 I don't know if you are aware but if you connect a Wi-Fi router to the control port on the back of the 32 and then have the band members download the UC Control APP to their phones then have them connect their phones to that Wi-Fi router then you can assign each member their ability to control their own monitor mix (Floor or IEM) so you don't have to do it on your end so it eliminates more "Guess Work" and headache so you can focus on FOH and it is all independent from FOH so what ever they do it wont affect FOH or the recording
Good suggestion. I looked at doing that years ago. Actually, the bands I mix for would rather have FOH manage their monitors; this allows them to focus on performing and playing. Once we have the monitors dialed in, we don't need to make adjustments too much after that. But also, (and more importantly), with FOH managing the monitors, if feed-back (monitor feedback) should occur, FOH can correct the issue extremely fast vs. a band member... whom may not know they are causing the feedback. The only time bands (at their request) that have managed their own monitors is when they are using their own PA and I am hired just to mix them on their PA. It works great then. Thanks for the comment.
@@stageleftaudio yeah that's the beauty of allowing the band members to control their own mix because it's much easier to set up at soundcheck, while you are setting up FOH they could be setting up their own mix and it will make it a lot faster to get the show started and then once they are locked in it's good to go for the rest of the show. Also for the sax play or he could actually attached a lapel mic to the rim of the horn (I think that makes sense I don't know the technicalities of the names of the horn lol) and it would give him more freedom to walk around and feel more comfortable not having to stay tied to just one area. I have a friend that has an Old violin that I do that to and MAN does it sound sweet. He just attaches the bodypack to his waist and then clip the mic inside of the fancy little cut out in the body of the violin and voila 🤣 pun intended LOL
Great video, with a very informative approach on how you set the monitoring system up. As someone who is learning his way round setting up systems, I find this invaluable.
Awesome setup as usual Stage Left, Impressive sound from two tops and single 18. RCF are quality speakers. The Groovynators Sound Great really enjoyed it. I play sax with a seven pc. band in the Norfolk and Va. Beach Va. area and know what it's like to set up sound equipment. Great Job Stage Left!!
The foamfactory makes great acoustic pads for the sub on stage issue. While using in-ears we tend to leave our room mics on a the whole time. Makes for a more natural stereo image. Cool video and sweet set up.
The two engineers discussing haha 😂 For a sec I thought that was a b roll shot while you guys were discussing until,, I realized they were the subjects lol 😝
What people didn't know you can run your music list even RUclips videos off you iPhone and any other cell with USB or simple plug chords to the mix board or sound system I like this setup
We enjoy your channel! I'm not sure if the "Groovynators" incorporate Steely Dan, but i think based on their sound and harmonies, it would be a great addition to their catalog!! Keep up the good work and much luck to all of us in audio coming out of the pandemic slowdowns... Gary at Sounds Of Stardom
I would have loved to hear the audio recorded directly from the mix output. I know the sound is different for a live vs a recording. Two weeks ago I watched the sound check of a band setting up. The guy was back in the audience with a remote control tablet to the mixer that was beside to=he stage.
Yes, the mix would most certainly sound a lot different directly from the board. The tablets do ok for wireless mixing, however, there is an issue with having the ability to move around when mixing. We hope to do a video covering this issue in the near future.
Thanks for the comment. Those ramps are: "Highland Ramparts" 750 lbs capacity each ramp. We used those for over 20 years. Since the time of this event, we no long use those yellow ramps. We moved to an aluminum ramp.
Basically, I will start with the main fader set around -10db and all channel faders fully down (-60db). I make sure the gain on each input is set where it will be used for the gig. I set the gain for these inputs one at a time working from left to right on the console (this is part of the line check process with the band/instruments). And during the gain setting of the inputs, I will bring the fader up for that channel to a point where it sounds loud enough for the gig; the band is playing their instruments (one at a time) during this process . The final result of this process is the starting point of my mix. Next, comes the sound check, where I usually make minor changes to the fader positions. The sound check is usually only about 1 minute long. The -10db starting point on the main fader is to help manage the overall FOH level. If I need more FOH output, I can just bring up the fader a few db at a time.
Those cable mats are made of rubber. Their original size was 2ft x 4ft long. I cut the mats down the middle (the length of the mat), to make two cables mats from one. I picked up those mats at one of the big box stores... those mats are actually door/floor runners. Check the big box stores for rubberized door/floor runners. They were somewhat inexpensive when I bought them. I've had them for about 12 years now.
I always learn something from your videos, today was the audience mic for in-ear monitors, my mind is blown! You guys are complete pros, my question is do you mute/unmute that mic during performance/song breaks or just let it rip the whole time?
Most guys will have them in always, but maybe bumped a couple dB between songs. It's really more about bringing back some of the ambience lost due to the isolation of IEM's, rather than trying to hear what specific people in the audience are saying. Always a good idea to run a high pass filter up pretty high on those too, so they don't muddy their mix.
The DriveRack (dbx 260) is a speaker management system; it does a lot of things (EQ, compression/limiting, crossover, etc...). For this event, the DriveRack is being used only as a high-pass filter; it is only allowing frequencies from 35hz and up to be sent to the main speakers... this is for "insurance" that no sub-sonic frequencies get into the system (i.e. from dropped mics, or stage vibration.) The main/house speakers are all active, the monitors are all passive (the QSC PLD amp is running monitor amplification).
When you run your FOH in this kind of tent or pavilion - don't you have issues to hear a clear sound? I had my first experience with running an FOH in a pavilion at a concert for a big band. And it was really horrible for me. When I left the FOH and the pavilion I had a different sound than in the pavilion.
Good point. There can be issues mixing in a tent. The composition of the sidewalls and roof of the tent we use (what's shown in this video) do not introduce much of any audio issues; the sidewalls and roof are very thin, compared to the commercial line of tents that are mostly used at concerts. The big issues with the large/commercial tents has to do with their sidewalls and roof... all of which are most always made from PVC (vinyl). The PVC sidewalls are thick vinyl and absorb a lot of the high frequencies. Also, no light can pass through the vinyl sides and roof (which is good). Most of the large-show FOH tents are fully enclosed (except for the front)... which causes a lot of issues with sound bouncing around inside the enclosed tent. This is part of the reason why we leave the back partition off our tent. Having the sidewalls (not the back) up on our tent does not present nearly the same level of issues if we were using PVC side-walls. Mixing from an enclosed vinyl side/roof FOH tent requires a different ear than mixing from the type of tent shown in this video.
just curios, for running a sound board only [and being good at it] what is a fair rate for a gig, I used to produce music. . and so I am very good a mixing and shaping raw mic audio into studio quality sound , I ended up running a allen and heath mixer for a band [who didnt understand sound shaping][ it sounded horrible so I offered to help since they couldnt run a board and play at the same time. . and they were super impressed and wanted to hire me but could only 50$ a gig out of there cut. . I didnt have to do anything besides show up and run the board live for them. with free beer, but didnt seem 50 was enought, what do you guys think?
Thanks for your comment. The $50 you got for mixing may sound good to some, but not others. Mixing rates vary a lot across the USA. Also, a lot as changed over the last 20 years with bands playing out. Most bars/pubs/etc... are no longer paying bands what they used to pay. Many times, bands play for only tips (which is not the way it was 20 years ago). It's very possible the band you mixed for did not make much money. And when distributing the gig pay to everyone, it's possible you may have been the highest paid!
Mike, if you’re able to mix a band to make them sound like they’re in a studio, then you should pursue that. $50 is a bit low, but as stageleftaudio has said above, they may not be making much $ to begin with. That’s one reason I stopped providing sound for bands in bars. They could only afford to pay $200 for my services. I did that for years and couldn’t understand why I wasn’t getting anywhere with my system. I opulent afford to upgrade or repair things. My PA was bought with household money over the course of about 15 years to the point of having a descent system. Now, I am charging $1250 for my services, but not bar bands. Festivals, corporate functions and things like that. That allows for upgrades, repairs, and even some helpers to assist getting in and setting up and tearing back down. I would even hire a competent tech to run the show for $200 to just come in, help setup, mix, and tear down. That would be what you want to look for. Some company willing to hire you. Maybe start by doing setup for them and work up from there.
Good questions. The sub is centered between the FOH tops to ensure even coverage over the listening area. If the sub was placed to either side (next to one of the top speakers), this would result in a greater volume level for that side of the stage for the crowd. The amp rack next to the sub is for the monitors. It's sitting there because I neglected to bring longer monitor speaker cables (to reach all the monitors). A side benefit of having it sitting there was it kept the number of cables running across the stage to a minimum.
There's a large expense involved with a full digital solution... as a sound provider, the expense is not worth it for us. We did a video several months ago covering this topic (from the viewpoint of a provider).
Update - I just responded to someone else regarding this. The center location was actually safer for the band due to a space restriction for access to the stage area. We did a quick analysis of the setup when we arrived and then choose the best spot for certain things. Sometimes, we see our decisions as "no particular reason" when setting up. It's all part of the thought-process when setting up.
3 года назад+1
@@stageleftaudio oh yes! I just find a strange place to put the snake, amp and crowd mic. Nice job anyway
The power was provided by two 15 amp circuits. The only PDU (and power conditioner) used in this setup was at FOH for the console and the drive-rack. The stage power distribution consisted of power-strips and "Y" connector extension cords directly off the stage circuit.
Good questions. A gate could be used for ducking. However, it probably would not work too well due to the potential varying levels of input from the crowd. For this setup, it's easier to press the Mute button.
I have a very amateur question. Are you able to see how much headway you have left on your speakers through your console? Let’s say your speakers are at 80% max volume, will your console tell you how close you are?
Actually, that's a good question. The answer is "no". However, many amplifiers (including the ones in powered speakers) allow for remote management using their own network management software. Using the software, you can see various parameters of the amplifier, including its output. Not all amplifiers (including powered speakers) provide this functionality, but many do. Some of the software can run under Windows or MAC.
@@stageleftaudio Hmmm interesting - how are we supposed to know that a speaker is limiting, or at its max potential without looking at the limit light on the back?
That is what the remote management software is for. It allows the person at FOH to view the status of the amplifiers (including powered speakers) over a computer network. Basically, you would have a Windows or MAC PC with you at FOH connected to a network... running software that is watching and managing the amplifiers. From the PC, you would be able to see if an amplifier is limiting. There's a lot more involved with sizing speakers to amplifiers. This also includes selecting powered speakers. If you are concerned about approaching the limits of a speaker, you probably are using speakers that are undersized for the event. Managing and watching amplifiers remotely is great, but not all speakers and amplifiers provide this functionality.
A simpler answer to this question, and it is a good question, is to make sure your gain structure is set up correctly. So that when the console output levels are at or near zero on the meter, that your amps are at the top of their performance and the speakers are at their top. This way you KNOW if you have any more headroom. Maybe I should apply for an A1 position with this company. Or, have my own channel for my own PA.
The monitors were eventually turned around (backs of the monitors facing the sun), shortly after placing the tarp on the sub. There's no video of the monitors being turned.
All our monitors are passive; it's more affordable to have passive monitors (and one 4-chnl. amplifier to drive them), than it would be for all active monitors.
I find the open vocal mics are more than sufficient for “crowd mics”... also your sub in the middle must assault the singer with low end... so what’s the point of your foh mic, if you can’t talk back through the wedges instead of yelling at the band like a madman from FOH...
I've been watching for awhile so I can try to answer your questions. I've think I've heard in other videos that they often use their driverack as a crossover and it probably has a more specific EQ than the console might. I believe they also use the driverack with an analogue board. Their clean FOH power is provided from a UPS (Uninterruptable Power Supply) I believe they have some sort of power conditioner but today they used the UPS.
@@EvanVincent. They're not always powered. If you'll look at some larger event videos they have passive subs. They don't often use passive mains though.
For this event, the mains (tops and sub) are powered. We are using the internal crossover of the sub for the main PA. For the driverack, it contains a crossover, however, we are not using the crossover as a crossover. For this event (like many of the smaller shows we do), the crossover in the driverack is used as a high-pass filter (set at 35hz). This is to ensure no sub-sonic signals from the band inputs (i.e. dropped mic, stage vibrations, etc...) make their way into the main PA. The driverack (in this setup) is like insurance... making sure only the lowest frequency we want to come through (35hz) is allowed to pass (and everything above 35hz). Everything else below 35hz does not get into the PA. We are using a UPS on the FOH console for this event.
Most all decent mics are good. It depends on what the mic will be used for, vocals... instruments... guitar cabinets... overheads....? There is no best mic for everything; it depends on where it will be used.
A couple of reasons why we bring our own chairs. 1.) The venue/location/facility usually does NOT want non-guests/customers using things that are designated for the guests/customers; like chairs and tables. 2.) Many venues/events/etc do not provide chairs at the event. And if they do, the chairs are sometimes uncomfortable. It is usually easier for us to bring our own chairs... this way, it is guaranteed we will have some place to sit/rest. Great observation. Thanks for the question.
@@stageleftaudio Oh thanks for the fast answer. It´s very interesting to the the tiny difference in the job in different countrys like the US and europe. Greetings from Germany!
Good question. Normally, the snake and monitor amp rack are to one side (it depends on the stage and what is around it). For this setup (it's not shown in the video), there's a limited access area to the stage. Having everything to one side could have presented a safety issue with the band due to the amount of cables that would have been run near the access area. For the sub, a single sub setup (which this event is) works best with the sub in the center of the stage (as in the video). With the sub in the center, the bass wave-forms will arrive at the listener at the same time the mid/high freq. from the tops arrive. With the sub off to one side, this introduces a phase issue with arrival times of the sound waves between the bass and mid/highs. If the sub was off to the side where the access area is, this would have caused a lot of low-end energy to collect under the canopy and probably would have caused bass cancellations out front (due to the near-by reflections from the ceiling and wall). Any time we use a single sub, it sits in the center.
@@stageleftaudio I see your point but safety is no 1 on the opposite end not under the canopy you could take away the tripod out and put the sub under foh speaker with a pole,I think one sub is a waste why not have both up there for better coverage,it’s like saying only one top end speaker would be enough. No rubbishing your effort,you have some nice gear and I think it looks professional,just like the ark ,2 of everything Keep Rockin guys much respect from Australia 🇦🇺
The distance between FOH and the stage was not very wide (~45ft, 13.7m). Also, we (myself and the band) had started talking between FOH and the stage long before the monitors were live; sometimes, especially with shorter distances, it's just easier to talk back and forth without a talkback. For larger shows, we most always use a talkback or an inter-comm system.
@@stageleftaudio I see. Thank you for your response. I am from Poland and I follow your channel. You have a nice job. Where are you from? Kind regards.
i can't understand 2 things: -digital console without digital stage box, why this? makes set up much slower without and time is money!! -why the bass cabinet in the middle of the stage? the most ugly position, cause you see it all the time.
Guys..come on..This is poor set up.. Wires all over the performance ares..This is not how a pro does it. When I do a private corporate gig like this there are no wires showing on any poles. I gaff tape them to the poles, that also goes for any lighting poles. Your snake should be in a non traveled portion of the stage and xllr cables to each element should be run in a single cable chase in back of the monitors.Neat Neat. I run a 120v ac strip just tucked in front of the powered monitors. So my ac runs to each monitor are short and neat.Also provides easy access power for pedal boards. I also.run one on the back line for Amp and keyboard power or run quad ac boxes in each back corner.All mic and monitor cables go to the stage box in "U" configuration on the non traveled portion of the stage. I leave a spill of cable neatly tucked under each element mons and mics so if someone wants to move a monitor or mic on stage,there isn't a problem. NEVER have cables in the performance area. Drunk.musicians or drunk patrons trip all the time. This stage is messy looking. Not pro at all.You have excellent gear for your shows, it should be assembled neatly and professionally.. The 4 bar you used for lighting is inadequate.. you should have used at least 2 of them for this show. Maybe you didn't get paid for this gig and did a quick set up.. If I was paying you for this show I would have been pissed off. Also,you should keep work station area clean and all excess wiring should be coiled neatly and all the speaker and case covers should be stored out of site..This will make it look like you are running a pro operation.. Of Course.. my opinion.
Thanks for the comment. Good observations. For this event (like some events we do), there were several logistics issues that presented us with some roadblocks which required work-arounds. These issues consumed time. Sometimes, between when the bands play and when we previously check out a site, things change with power and setup, we do our best to accommodate the bands and the site changes, which includes the time required to setup. Fortunately, we have worked for this band for many years. In fact, the band sets up their own stage cabling (using our gear) in a manner that works for them. The stage area may appear to be un-orderly, but it works for them. Also, this is a single band event... if this were a multi-band event, things would look a lot different (especially with the cabling, including the snake). We would be using different gear. We had no control over the lighting... the 4-bar lights belong to the band. Also, the event location installed a large color changing light (referenced in the video) that was also used for this event. I agree, the lighting was not too good for this show. The band upgraded their lighting after this event. Most all of the lighting you see in our videos belong to the bands we are mixing for. For the larger shows, the lighting is contracted out. The setup time for this event was reduced. There comes a time when the show must go on... and when it does, we move forward with it. Thanks again for the comment!
Thanks for the reply... I hate to be critical but I see many live venues like this. I know you are a great soundman and are very knowledgeable..You have awesome gear as well. I can tell you.myself, I never try to have any obstructions on stage and.my cabling is always super neat and hidden as much as possible.Another thing, I never let bands put up 1 piece of gear until I al ready. They just get in the way.. You own the stage before any.music starts. They can be a pain in the ass and are always asking for things as soon as they get up there. When you.do.allow them up..do it 1 at a time.. then.they.feel.your paying out attention to them. You do good work. I watch and have commented on many of your videos. Cheers
Why don't u just used ur ipad . Mix the FOH from any spot and go on the stage and mix their monitors instead of waving trying to figure out what instrument they want volume on. Also put on some headset so u can talk to them on the monitors instead of yelling. Stop overworking that was a pretty easy gig. I have mixed 6 bands in one event esch 45 mins then another group goues right after and u have to mix right on the spot. And one more thing stop mixing the whole night. The way they band sounds on the first song that is hownthey r gonna sound the rest of the night. Of course u can do some adjustments but put the tablet away and enjoy the show or relax let the fader alone for god sake
as a dj who runs a full passive system including a full light show by my self, I can truly appreciate the work you guys put into this. ., its like setting up a full mobile recording studio for a live performance. .and with that presonus, it litterly is[if you choose to record it] [way more dificult than what i do] but right up my alley. . awesome work guys
Thank you for the comment! It can be a lot of work.
Excellent video, really showing everything that is involved. I loved the 2 'sound engineers' discussing EQ!!
Great job! You chose the right equipment for the venue and style of music, not overkill. I wish I could keep the band focused for sound checks, they often times don't realize how important that 15-20 minutes is. Every venue is different and just moving equipment around from one set up to another affects settings slightly and sometimes a great deal. I appreciate watching your set up it just proves I'm not overthinking my set up, details do matter. I like your mix and all instruments were sitting in place well from the short recordings.
I used to do what you guys do
First in last out of a venue, it takes a toll on your body, how do you guys keep on doing what you do wrk in week out for the last 10 years has got me, well done for your dedication and commitment to the Live music industry
We have our good days and bad days. Thanks for your comment.
27:17 I don't know if you are aware but if you connect a Wi-Fi router to the control port on the back of the 32 and then have the band members download the UC Control APP to their phones then have them connect their phones to that Wi-Fi router then you can assign each member their ability to control their own monitor mix (Floor or IEM) so you don't have to do it on your end so it eliminates more "Guess Work" and headache so you can focus on FOH and it is all independent from FOH so what ever they do it wont affect FOH or the recording
Good suggestion. I looked at doing that years ago. Actually, the bands I mix for would rather have FOH manage their monitors; this allows them to focus on performing and playing. Once we have the monitors dialed in, we don't need to make adjustments too much after that. But also, (and more importantly), with FOH managing the monitors, if feed-back (monitor feedback) should occur, FOH can correct the issue extremely fast vs. a band member... whom may not know they are causing the feedback. The only time bands (at their request) that have managed their own monitors is when they are using their own PA and I am hired just to mix them on their PA. It works great then. Thanks for the comment.
@@stageleftaudio yeah that's the beauty of allowing the band members to control their own mix because it's much easier to set up at soundcheck, while you are setting up FOH they could be setting up their own mix and it will make it a lot faster to get the show started and then once they are locked in it's good to go for the rest of the show.
Also for the sax play or he could actually attached a lapel mic to the rim of the horn (I think that makes sense I don't know the technicalities of the names of the horn lol) and it would give him more freedom to walk around and feel more comfortable not having to stay tied to just one area. I have a friend that has an Old violin that I do that to and MAN does it sound sweet. He just attaches the bodypack to his waist and then clip the mic inside of the fancy little cut out in the body of the violin and voila 🤣 pun intended LOL
Great mix! Drums are tight! The longest sound check I’ve done was 2 hours. Yes sound check is the hardest part of mixing a band. Great job guys!
Thank you for your comment!
The lead guitar player was the definitely the star of this show. Great job with the mix I think you nailed it
Thank you for your comment!
Crystal clear audio great job 👍🏾👍🏾👍🏾👍🏾👍🏾👍🏾👍🏾
Great video, with a very informative approach on how you set the monitoring system up. As someone who is learning his way round setting up systems, I find this invaluable.
Awesome setup as usual Stage Left, Impressive sound from two tops and single 18. RCF are quality speakers. The Groovynators Sound Great really enjoyed it. I play sax with a seven pc. band in the Norfolk and Va. Beach Va. area and know what it's like to set up sound equipment. Great Job Stage Left!!
Thank you for the comment!
Nice job, band sounds really good and full.
Thanks a lot!
The foamfactory makes great acoustic pads for the sub on stage issue. While using in-ears we tend to leave our room mics on a the whole time. Makes for a more natural stereo image. Cool video and sweet set up.
Great tip on the acoustic pads. Thank you for your comment!
Good job man! I admire when people gets to work. Cheers to all your crew!!! Specially to the one above!!!
Thank you for the great comment!
@@stageleftaudio:
The two engineers discussing haha 😂
For a sec I thought that was a b roll shot while you guys were discussing until,, I realized they were the subjects lol 😝
Awesome Team , Excellent live mixing, superbbbbbbb - Robin from INDIA
Thanks for listening!!
good job bob,we in kenya thank God,things catching up.tthe oct 7 event,i love it,it was my birthday....Good job mentor.
Good to see things picking back up in Kenya! That was a good way to spend your birthday.
Thank you for your comment!
What people didn't know you can run your music list even RUclips videos off you iPhone and any other cell with USB or simple plug chords to the mix board or sound system I like this setup
Thank you for your comment.
I Own One Of Those Mixers And They Sound Great, Keep Up The Good Work
Tx for your videos. Its a great look in behind whats going on. I love them.
Thanks for watching!
Good Job, When will you use cat cable? :)
It's really good to see you guys back I've learnt a lot from you guys.. your videos were so awesome 🤭🤭🤭
Thank you very much for your comment 😀 The industry has been slow to return... we still have a ways to go!
@@stageleftaudio I hope you guys have more strength and energy to make more and more videos in the future... Big fan from Northeast India 🤭🤭🤭
Thank you!!
We enjoy your channel! I'm not sure if the "Groovynators" incorporate Steely Dan, but i think based on their sound and harmonies, it would be a great addition to their catalog!! Keep up the good work and much luck to all of us in audio coming out of the pandemic slowdowns...
Gary at Sounds Of Stardom
Thank you for your comment! The Groovynators actually cover a couple of Steely Dan songs!
Let me know when is your next show, I really want to go check you guys out.
Send us an email.
great attention to detail, loved your videos
Much appreciated!
using the SUB was a good call
I'd love to see a video about marketing/the business side of things - how do you stay busy and get new clients and jobs?
Hopefully in the near future!
B how B
Y
I second this!
I would have loved to hear the audio recorded directly from the mix output. I know the sound is different for a live vs a recording. Two weeks ago I watched the sound check of a band setting up. The guy was back in the audience with a remote control tablet to the mixer that was beside to=he stage.
Yes, the mix would most certainly sound a lot different directly from the board. The tablets do ok for wireless mixing, however, there is an issue with having the ability to move around when mixing. We hope to do a video covering this issue in the near future.
Excellent job special care for the system...
Talk back mic always works better than yelling from the board. LOL
Very true! We already started talking/yelling back and forth when setting up, we decided to continue yelling back and forth.
Nice video and great job.
Thank you very much!
Place foam rubber under the subs to eliminate stage vibration!
I use a PreSonus 32R myself. Never stay on the desk long enough to need it, so just went full rack instead. Takes up less space too!
The 32R is good.
Nice job, good video. Thank you for sharing.
Thanks for watching!
Love these setup videos
so organized..i love these guys
First in....last out. Dig the ramps where did you get them?
Thanks for the comment. Those ramps are: "Highland Ramparts" 750 lbs capacity each ramp. We used those for over 20 years. Since the time of this event, we no long use those yellow ramps. We moved to an aluminum ramp.
Brilliant lesson
Very good job guys 👏🏼👏🏼👏🏼👍🏻👍🏻👍🏻👌👌👌
Thank you! 😃
Very good job gaes
Would you provide your starting point mix breakdown for your outdoor event
Basically, I will start with the main fader set around -10db and all channel faders fully down (-60db). I make sure the gain on each input is set where it will be used for the gig. I set the gain for these inputs one at a time working from left to right on the console (this is part of the line check process with the band/instruments). And during the gain setting of the inputs, I will bring the fader up for that channel to a point where it sounds loud enough for the gig; the band is playing their instruments (one at a time) during this process . The final result of this process is the starting point of my mix. Next, comes the sound check, where I usually make minor changes to the fader positions. The sound check is usually only about 1 minute long. The -10db starting point on the main fader is to help manage the overall FOH level. If I need more FOH output, I can just bring up the fader a few db at a time.
God job. Saludos from Costa Rica
Dennis plays guitar like he knows his way around some smothered chicken, mac & cheese and candied yams
Ty for the vid ! Did you have any feedback problems on stage ?
No feedback issues during the event. We had some feedback during the line/sound check, which was expected.
Nice sound
Thanks for listening
Great Job...!
Do you have a link for the cable mats that we can use for purchase?
Those cable mats are made of rubber. Their original size was 2ft x 4ft long. I cut the mats down the middle (the length of the mat), to make two cables mats from one. I picked up those mats at one of the big box stores... those mats are actually door/floor runners. Check the big box stores for rubberized door/floor runners. They were somewhat inexpensive when I bought them. I've had them for about 12 years now.
I always learn something from your videos, today was the audience mic for in-ear monitors, my mind is blown! You guys are complete pros, my question is do you mute/unmute that mic during performance/song breaks or just let it rip the whole time?
Thanks for the comment. The crowd mic is muted when the band is playing... it's unmuted between songs.
Most guys will have them in always, but maybe bumped a couple dB between songs. It's really more about bringing back some of the ambience lost due to the isolation of IEM's, rather than trying to hear what specific people in the audience are saying. Always a good idea to run a high pass filter up pretty high on those too, so they don't muddy their mix.
Personal monitoring has streamlined this process so much, so I can focus on FOH mix!
Monitoring has come a long way! It's good to see the progress.
Hi praise the lord....
great job sir
Thank you!
muy buen video y todo se escucha ok
¡Gracias por el comentario!
Hard working!
Nice set up, what’s a drive rack and it’s function to the sound quality.
Again, are your speakers passive or active because of the amps connections
The DriveRack (dbx 260) is a speaker management system; it does a lot of things (EQ, compression/limiting, crossover, etc...). For this event, the DriveRack is being used only as a high-pass filter; it is only allowing frequencies from 35hz and up to be sent to the main speakers... this is for "insurance" that no sub-sonic frequencies get into the system (i.e. from dropped mics, or stage vibration.)
The main/house speakers are all active, the monitors are all passive (the QSC PLD amp is running monitor amplification).
aki aki gesit bener dah 😎
When you run your FOH in this kind of tent or pavilion - don't you have issues to hear a clear sound?
I had my first experience with running an FOH in a pavilion at a concert for a big band. And it was really horrible for me.
When I left the FOH and the pavilion I had a different sound than in the pavilion.
Good point. There can be issues mixing in a tent. The composition of the sidewalls and roof of the tent we use (what's shown in this video) do not introduce much of any audio issues; the sidewalls and roof are very thin, compared to the commercial line of tents that are mostly used at concerts. The big issues with the large/commercial tents has to do with their sidewalls and roof... all of which are most always made from PVC (vinyl). The PVC sidewalls are thick vinyl and absorb a lot of the high frequencies. Also, no light can pass through the vinyl sides and roof (which is good). Most of the large-show FOH tents are fully enclosed (except for the front)... which causes a lot of issues with sound bouncing around inside the enclosed tent. This is part of the reason why we leave the back partition off our tent. Having the sidewalls (not the back) up on our tent does not present nearly the same level of issues if we were using PVC side-walls. Mixing from an enclosed vinyl side/roof FOH tent requires a different ear than mixing from the type of tent shown in this video.
Sir which speaker you are using?
The tops: RCF NX-45A Sub: RCF 8004-AS
just curios, for running a sound board only [and being good at it] what is a fair rate for a gig, I used to produce music. . and so I am very good a mixing and shaping raw mic audio into studio quality sound , I ended up running a allen and heath mixer for a band [who didnt understand sound shaping][ it sounded horrible so I offered to help since they couldnt run a board and play at the same time. . and they were super impressed and wanted to hire me but could only 50$ a gig out of there cut. . I didnt have to do anything besides show up and run the board live for them. with free beer, but didnt seem 50 was enought, what do you guys think?
Thanks for your comment. The $50 you got for mixing may sound good to some, but not others. Mixing rates vary a lot across the USA. Also, a lot as changed over the last 20 years with bands playing out. Most bars/pubs/etc... are no longer paying bands what they used to pay. Many times, bands play for only tips (which is not the way it was 20 years ago). It's very possible the band you mixed for did not make much money. And when distributing the gig pay to everyone, it's possible you may have been the highest paid!
Mike, if you’re able to mix a band to make them sound like they’re in a studio, then you should pursue that. $50 is a bit low, but as stageleftaudio has said above, they may not be making much $ to begin with. That’s one reason I stopped providing sound for bands in bars. They could only afford to pay $200 for my services. I did that for years and couldn’t understand why I wasn’t getting anywhere with my system. I opulent afford to upgrade or repair things. My PA was bought with household money over the course of about 15 years to the point of having a descent system. Now, I am charging $1250 for my services, but not bar bands. Festivals, corporate functions and things like that. That allows for upgrades, repairs, and even some helpers to assist getting in and setting up and tearing back down. I would even hire a competent tech to run the show for $200 to just come in, help setup, mix, and tear down. That would be what you want to look for. Some company willing to hire you. Maybe start by doing setup for them and work up from there.
Love the videos. Where did you get the canopy for the Foh?
Thanks for the comment. The canopy came directly from Eurmax (all online).
not trying to be judgmental but why is there an amp Rack and a sub directly in the middle of the stage?
Good questions. The sub is centered between the FOH tops to ensure even coverage over the listening area. If the sub was placed to either side (next to one of the top speakers), this would result in a greater volume level for that side of the stage for the crowd. The amp rack next to the sub is for the monitors. It's sitting there because I neglected to bring longer monitor speaker cables (to reach all the monitors). A side benefit of having it sitting there was it kept the number of cables running across the stage to a minimum.
@@stageleftaudio very astute explanation and thank you for replying so quickly
Why the analog snake and not a digital stage box?
There's a large expense involved with a full digital solution... as a sound provider, the expense is not worth it for us. We did a video several months ago covering this topic (from the viewpoint of a provider).
Good job.. out of curiosity, how hot was it that day?
From what I recall, it was about 75(F) 23.8(C)
Did you make your own stringers or did you purchase them…. if so where from???
I had those custom made by a small company several years ago; they've been great. Though, I don't recall the company name :(
do you just 1 18" sub?
For this event, just one 18" sub was used. RCF 8004-AS
Why the snake it's in middle front of the stage? Not in the middle back?
It could have gone to the back as well. We decided to keep it up front for this event... no particular reason.
Update - I just responded to someone else regarding this. The center location was actually safer for the band due to a space restriction for access to the stage area. We did a quick analysis of the setup when we arrived and then choose the best spot for certain things. Sometimes, we see our decisions as "no particular reason" when setting up. It's all part of the thought-process when setting up.
@@stageleftaudio oh yes! I just find a strange place to put the snake, amp and crowd mic. Nice job anyway
what is the name of the case you are holding your Presonus StudioLive in
That is a Gator case; specifically for that model of console.
Im presouns user i love it my mixer
What did you use to power all the equipment, power conditioner strips?
The power was provided by two 15 amp circuits. The only PDU (and power conditioner) used in this setup was at FOH for the console and the drive-rack. The stage power distribution consisted of power-strips and "Y" connector extension cords directly off the stage circuit.
Which type of snake board do you use? I want to get one for my church.
Ho
We use an EWI snake. It's a 24/8 100ft (30.4m) snake.
Doesn't the Presonus have a "Duck" feature for crowd mics?
Good questions. A gate could be used for ducking. However, it probably would not work too well due to the potential varying levels of input from the crowd. For this setup, it's easier to press the Mute button.
I have a very amateur question. Are you able to see how much headway you have left on your speakers through your console? Let’s say your speakers are at 80% max volume, will your console tell you how close you are?
Actually, that's a good question. The answer is "no". However, many amplifiers (including the ones in powered speakers) allow for remote management using their own network management software. Using the software, you can see various parameters of the amplifier, including its output. Not all amplifiers (including powered speakers) provide this functionality, but many do. Some of the software can run under Windows or MAC.
@@stageleftaudio Hmmm interesting - how are we supposed to know that a speaker is limiting, or at its max potential without looking at the limit light on the back?
That is what the remote management software is for. It allows the person at FOH to view the status of the amplifiers (including powered speakers) over a computer network. Basically, you would have a Windows or MAC PC with you at FOH connected to a network... running software that is watching and managing the amplifiers. From the PC, you would be able to see if an amplifier is limiting.
There's a lot more involved with sizing speakers to amplifiers. This also includes selecting powered speakers. If you are concerned about approaching the limits of a speaker, you probably are using speakers that are undersized for the event. Managing and watching amplifiers remotely is great, but not all speakers and amplifiers provide this functionality.
A simpler answer to this question, and it is a good question, is to make sure your gain structure is set up correctly. So that when the console output levels are at or near zero on the meter, that your amps are at the top of their performance and the speakers are at their top. This way you KNOW if you have any more headroom. Maybe I should apply for an A1 position with this company. Or, have my own channel for my own PA.
@@6imzadi And how would you find optimal gain position?
So why cover mains, sub with tarp and not the monitors?
The monitors were eventually turned around (backs of the monitors facing the sun), shortly after placing the tarp on the sub. There's no video of the monitors being turned.
hmm why not use AVB?
We would if we were using a full digital solution.
Why u didn’t use Active monitor instead of passive?
All our monitors are passive; it's more affordable to have passive monitors (and one 4-chnl. amplifier to drive them), than it would be for all active monitors.
@@stageleftaudio thanks for reply
What case is that for your presonus console
It's from Gator Cases. The casters (which came with the case) are from Penn-Elcom (this was a big plus).
I find the open vocal mics are more than sufficient for “crowd mics”... also your sub in the middle must assault the singer with low end... so what’s the point of your foh mic, if you can’t talk back through the wedges instead of yelling at the band like a madman from FOH...
I bet you would enjoy a reggae band more 😆.
Reggae is good. We have mixed for two reggae bands over the years.
Which ups do you use for mixer and driverack can u tell me the name I in need one
The UPS: Tripp-Lite SmartPro UPS (SMART500RTU1)
@@stageleftaudio thank you so much
Multicore??
Two "audio engineers" discussing EQ Settings!😂
nice
Whats in your driverack that can't be done on the console itself? Do you have a power conditioner or something?
I've been watching for awhile so I can try to answer your questions.
I've think I've heard in other videos that they often use their driverack as a crossover and it probably has a more specific EQ than the console might. I believe they also use the driverack with an analogue board.
Their clean FOH power is provided from a UPS (Uninterruptable Power Supply) I believe they have some sort of power conditioner but today they used the UPS.
@@kaworubloodpaw it looked like the mains/subs were powered do I thought the crossover might be on the back? But that makes sense.
@@EvanVincent. They're not always powered. If you'll look at some larger event videos they have passive subs. They don't often use passive mains though.
@@kaworubloodpaw good too know. I'll check out some of the other videos. I enjoy the channel
For this event, the mains (tops and sub) are powered. We are using the internal crossover of the sub for the main PA. For the driverack, it contains a crossover, however, we are not using the crossover as a crossover. For this event (like many of the smaller shows we do), the crossover in the driverack is used as a high-pass filter (set at 35hz). This is to ensure no sub-sonic signals from the band inputs (i.e. dropped mic, stage vibrations, etc...) make their way into the main PA. The driverack (in this setup) is like insurance... making sure only the lowest frequency we want to come through (35hz) is allowed to pass (and everything above 35hz). Everything else below 35hz does not get into the PA. We are using a UPS on the FOH console for this event.
Any tecnition veccancy
Not at this time. Thank you.
Which best mic in live program
Most all decent mics are good. It depends on what the mic will be used for, vocals... instruments... guitar cabinets... overheads....? There is no best mic for everything; it depends on where it will be used.
@@stageleftaudio ohk.
why do american people bring their own chair to a event like tihis? i had seen this in many of your videos.
A couple of reasons why we bring our own chairs. 1.) The venue/location/facility usually does NOT want non-guests/customers using things that are designated for the guests/customers; like chairs and tables. 2.) Many venues/events/etc do not provide chairs at the event. And if they do, the chairs are sometimes uncomfortable.
It is usually easier for us to bring our own chairs... this way, it is guaranteed we will have some place to sit/rest.
Great observation. Thanks for the question.
@@stageleftaudio Oh thanks for the fast answer.
It´s very interesting to the the tiny difference in the job in different countrys like the US and europe.
Greetings from Germany!
I don’t understand why the sub,stagebox,amp rack are dead smack in the middle of the stage?…why not have everything to one side out of the way??………
Good question. Normally, the snake and monitor amp rack are to one side (it depends on the stage and what is around it). For this setup (it's not shown in the video), there's a limited access area to the stage. Having everything to one side could have presented a safety issue with the band due to the amount of cables that would have been run near the access area.
For the sub, a single sub setup (which this event is) works best with the sub in the center of the stage (as in the video). With the sub in the center, the bass wave-forms will arrive at the listener at the same time the mid/high freq. from the tops arrive. With the sub off to one side, this introduces a phase issue with arrival times of the sound waves between the bass and mid/highs. If the sub was off to the side where the access area is, this would have caused a lot of low-end energy to collect under the canopy and probably would have caused bass cancellations out front (due to the near-by reflections from the ceiling and wall). Any time we use a single sub, it sits in the center.
@@stageleftaudio I see your point but safety is no 1 on the opposite end not under the canopy you could take away the tripod out and put the sub under foh speaker with a pole,I think one sub is a waste why not have both up there for better coverage,it’s like saying only one top end speaker would be enough.
No rubbishing your effort,you have some nice gear and I think it looks professional,just like the ark ,2 of everything
Keep Rockin guys much respect from Australia 🇦🇺
молодцы
👍
This mixer price
We do not discuss or reference costs/prices on any equipment. A google search of the product should give you an estimate of their price.
The clatter of Roadcasess puts me to sleep 🛌
What you experienced is called ASMR.
mntap
Musicians are deaf so monitors are NEVER loud enough. LOL, I'm one of those.
That’s why I love my in-ears! I can protect my hearing and hear the rest of the band clearly at the same time.
An sich schönes Video nur auf Optik wurde hier 0 gesetzt. Die LED Bar in der MITTE????? Absolut unschön
Ja, bei dieser Veranstaltung war nicht viel Bühnenbeleuchtung verfügbar.
@@stageleftaudio ah ok
What is the name of mixer
Presonus StudioLive Series 3 (32 chnl)
Please l want to be perfect sound Eugenia pls how can you help me am engenia but am not all that good as I want it
Hello. To be a good engineer, watch videos, read more about audio, volunteer to help other sound companies.
Why aren't you using the talkback microphone but shouting at the band from afar? It's better to talk to musicians through monitors.
The distance between FOH and the stage was not very wide (~45ft, 13.7m). Also, we (myself and the band) had started talking between FOH and the stage long before the monitors were live; sometimes, especially with shorter distances, it's just easier to talk back and forth without a talkback. For larger shows, we most always use a talkback or an inter-comm system.
@@stageleftaudio I see. Thank you for your response. I am from Poland and I follow your channel. You have a nice job.
Where are you from?
Kind regards.
Thanks for your comments. We are in North Carolina, USA.
My job interest??
i can't understand 2 things:
-digital console without digital stage box, why this? makes set up much slower without and time is money!!
-why the bass cabinet in the middle of the stage? the most ugly position, cause you see it all the time.
Guys..come on..This is poor set up.. Wires all over the performance ares..This is not how a pro does it. When I do a private corporate gig like this there are no wires showing on any poles. I gaff tape them to the poles, that also goes for any lighting poles. Your snake should be in a non traveled portion of the stage and xllr cables to each element should be run in a single cable chase in back of the monitors.Neat Neat. I run a 120v ac strip just tucked in front of the powered monitors. So my ac runs to each monitor are short and neat.Also provides easy access power for pedal boards. I also.run one on the back line for Amp and keyboard power or run quad ac boxes in each back corner.All mic and monitor cables go to the stage box in "U" configuration on the non traveled portion of the stage. I leave a spill of cable neatly tucked under each element mons and mics so if someone wants to move a monitor or mic on stage,there isn't a problem. NEVER have cables in the performance area. Drunk.musicians or drunk patrons trip all the time. This stage is messy looking. Not pro at all.You have excellent gear for your shows, it should be assembled neatly and professionally.. The 4 bar you used for lighting is inadequate.. you should have used at least 2 of them for this show. Maybe you didn't get paid for this gig and did a quick set up.. If I was paying you for this show I would have been pissed off.
Also,you should keep work station area clean and all excess wiring should be coiled neatly and all the speaker and case covers should be stored out of site..This will make it look like you are running a pro operation.. Of Course.. my opinion.
Thanks for the comment. Good observations. For this event (like some events we do), there were several logistics issues that presented us with some roadblocks which required work-arounds. These issues consumed time. Sometimes, between when the bands play and when we previously check out a site, things change with power and setup, we do our best to accommodate the bands and the site changes, which includes the time required to setup. Fortunately, we have worked for this band for many years. In fact, the band sets up their own stage cabling (using our gear) in a manner that works for them. The stage area may appear to be un-orderly, but it works for them. Also, this is a single band event... if this were a multi-band event, things would look a lot different (especially with the cabling, including the snake). We would be using different gear. We had no control over the lighting... the 4-bar lights belong to the band. Also, the event location installed a large color changing light (referenced in the video) that was also used for this event. I agree, the lighting was not too good for this show. The band upgraded their lighting after this event. Most all of the lighting you see in our videos belong to the bands we are mixing for. For the larger shows, the lighting is contracted out. The setup time for this event was reduced. There comes a time when the show must go on... and when it does, we move forward with it. Thanks again for the comment!
Thanks for the reply... I hate to be critical but I see many live venues like this. I know you are a great soundman and are very knowledgeable..You have awesome gear as well. I can tell you.myself, I never try to have any obstructions on stage and.my cabling is always super neat and hidden as much as possible.Another thing, I never let bands put up 1 piece of gear until I al ready. They just get in the way.. You own the stage before any.music starts. They can be a pain in the ass and are always asking for things as soon as they get up there. When you.do.allow them up..do it 1 at a time.. then.they.feel.your paying out attention to them. You do good work. I watch and have commented on many of your videos. Cheers
Thank you for the follow up!
Why don't u just used ur ipad .
Mix the FOH from any spot and go on the stage and mix their monitors instead of waving trying to figure out what instrument they want volume on. Also put on some headset so u can talk to them on the monitors instead of yelling. Stop overworking that was a pretty easy gig. I have mixed 6 bands in one event esch 45 mins then another group goues right after and u have to mix right on the spot. And one more thing stop mixing the whole night. The way they band sounds on the first song that is hownthey r gonna sound the rest of the night. Of course u can do some adjustments but put the tablet away and enjoy the show or relax let the fader alone for god sake
We do not use iPads for mixing. iPads are a great tool for some setups, but not for all.
A drive rack with a Digital board? Never knew.