i think us sound engineers are the unsung heros of events , i just did sound for a local community event with my trusty EAW kf850 SB850 and Allen and heath sq7 and crown amps and people complimented the sound quality
A lot of people don't relies how much work a sound engineer has, hours before the gig and hours after the gig to get all the equipment set up and tear down at the end of the night . Just a small system like this one 16 or 24 channel board is a lot of work after set up you have sound check every thing to make sure all of it working ... cuddles to all sound engineers out there ...
I setup sound for one band, that cured me, that job sucks, my hat goes off to you, for doing this job, a lot of Bull work, that A&H board is killer!! I had a day job anyway so i did not need to run sound. But it is not easy, and would never ever do it for a living.
Yes. Many years ago, I used a switched mic. The switch was always noisy when used (a lot of clicks/crackling), and eventually the switch stopped working after only about 3 years (resulting in intermittent audio with the mic). However, the mic I was using back then was a very cheap mic I used entirely for TB! I'm sure the switches are much better now on some decent mics. I have thought about going back to a switched mic, but at the moment, I don't use TB too much anymore, may be a few times a year. For larger events, we use comms to communicate with the stage (stage-manager, etc...) and have them communicate with the artists.
Great job with the set-up I have a set-up similar to yours but I usually have to bring more channels for a small show sometimes 48 channels the problem is I supply all my production sound and lighting and a lot of hours making sure everything is running properly and mixing the show and tear down but the organizer only wants to pay $500 a day that I end up giving them less subs and powered tops and I charge to bring in everything was $1,250 a day is it too much or should I charge them more need some pin points Thanks
Thanks for your comment. Good question. There's a lot that can go on with determining pricing (far too much information than what I could add to this response). With that said, here are some points to consider. 1. Customers (or potential customers) will have a budget in mind for their event. If you wish to provide a service (or least bid for the service), you may need to adjust the equipment you will provide for their event... as well as your expectations of what you think they may need for the event. 2. Have other equipment available for smaller events. 3. Customers usually do not care what type of console would be used for their event. All they care about (and I agree with the customer), is can someone provide the service I need for the budget I have... with whatever equipment will be utilized. 4. The amount of time you put in to work an event (setting up, tearing down, ensuring all gear works, etc...) should be irrelevant to the customer. The amount of time you put into all that work is all part of the "service", and most customers do not care (nor should they) how much work you do to provide the service. 5. Providing sound is a service based industry. A lot of services are based on customer budgets. We have several types of consoles, speakers, snakes (analog/digital)... all of which is available for various sized events. When we bid on events, our quotes are for equipment sized for that particular event based on the needs (and budget) of the customer. Hope this will get you thinking.
Thanks for the comment. Here's the ramp we use: ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742 -- At the time I got the ramp, they could only be purchased through EZAccess. I'm not sure if that is still the case.
Thanks for filming all this! I learned some stuff! Wondering if the one double 18 sub was enough? (I know there's limitations like budget, manpower, and space in the van). Also, I always wonder how you safely run cable from the stage to the FOH so attendees will not trip and fall. How do you guys handle that?
Thanks for your comment. Yes, the double 18 was more than enough for this event; in fact during sound-check, we had to bring down the kick-drum and bass due to the volume level. Also, with the double 18 sitting in the center, this provided coverage over the entire listening area. Good question on the cable runs between the stage and FOH. On hard surfaces (i.e. parking lots, exhibition halls, etc...), we use either rubber cable covers (with black/yellow tape for visibility), or heavy rubber cable conduits (black w/yellow covers). For outdoor events (i.e. in this video), we run a yellow power cable next to the snake cable. It's the yellow power cable that provides the visibility for safety.
here's me as a DJ getting shut of the subs in my 40s because of the weight and noise complaints. im currently trying to cram an 8 channel mixer, mic receiverx2, IEM transmitter, sound card, 10 inch monitor, cabling and power strip in to what I think was a Guitar pedal case. All to save carry big heavy boxes. especially to plug and play venues. Lots of UK venues you can't even park close to for unloading.
For this event, we are using a DBX Driverack 260 for the crossover. We send the mid/high frequencies through return #2, then use an XLR splitter to connect the FOH top speakers. The low frequencies are sent through return #1 and connect directly to the Crown MA5000i amplifier, which is used to drive the sub. Our PA tuning is adjusted for most every event; we do not use the same configuration each time. This is to accommodate the choice of speakers we use, inside/outside show, type of music. We do have some older videos covering how a crossover (analog crossover) works.
In general, yes. The JBL cabinets do a better job producing a "punch", though they do not reproduce the lower-frequencies as good as the Tannoy's. As well, the Tannoy's are more efficient. The JBL's are still good cabinets and we plan on still using them at some events.
@@stageleftaudio I've seen a lot of sound companies have the Tannoy, and I've seen them in auction. I just never heard one knowingly. Thanks for the reply back.
It's a shame Crown discontinued those non-DSP macro tech-I amps; the ones with the DSP cost a fortune. Great job with the PA system, as usual. Do you mind sharing which Tannoy speakers you use?
Thanks for your comments. Actually, the Crown amps we use have DSP on them, however, the DSP is only configurable using a laptop. This may be a problem for some users, but for us, our Crown amps are only used for sub use, therefore, the DSP is configured on them once and we don't need to touch them again. We use the Tannoy VS218DR subs for some events.
It is from a company called EZ-Access. ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742 The ramp in the video is 8ft tall. Hope this helps.
So why use an outboard Driverack instead of using the digital console/matrices as your system controller? Thanks for the video and ramp recommendation!
Good question. Here's my 2 cents on the trend of using consoles as a xover. Pertaining to the crossover function of the Driverack... the DR-260 is designed to function as an actual crossover. It is simple to use, is effective, and can be easily tuned on-the-fly during an event. It allows for these choices of which filters to use for HP / LP xover filtering - (from the 260 manual): * BS (Bessel) with a slope of 6, 12, 18, or 24 dB/Octave. * BW (Butterworth ) with a slope of 6, 12, 18, or 24 dB/Octave. * LR (Linkwitz-Riley) with a slope of 12, 24, 36, or 48 dB/Octave. The choice of these settings is what allows the PA to function as a sound system. The 260 can also be used for aux-fed subs (which we do not do) and cardioid setups (which we do use). As of this writing, I'm not aware of any console (at least the sub $10K consoles) that provides this level of professional control and sound quality over a main PA. Using a console as a crossover (when it is not designed for that purpose), usually yields unprofessional results and adds unnecessary complexity to a basic (i.e. 2-way) setup, as well, it consumes outputs on the console. However, there may be some people who are ok with using their consoles as a crossover. Ultimately, it's what the person thinks will work best for their setup. We will never use our consoles as crossovers.
@@stageleftaudio I appreciate the detailed reply! I'm always more interested in "why" people choose things rather than "what" they choose. I don't want to stray into the 'Aux-fed sub' controversy...🤣...but as for the various crossover filters and slope choices: The M32 (X32) series of mixers offer all (or all least nearly all) of these choices on the 6 Matrices. I've used them as crossovers for several events (indoors and out) and was very satisfied with the system results. The matrix channels can also have phase inverted so that along with output routing delay makes cardioid sub arrays very simple to create. I haven't gotten to know all of the A & H boards intimately yet--(just started playing with them in the last 18 months or so) but I would be shocked if they didn't have these filter options available somewhere in the library. I agree that a dedicated piece of hardware is nice to have to remove the 'thinking' part of the equation but I really hate lugging outboard racks for FOH to temp stage locations. (my back is old and there's not much room in my van either!!). Thanks for the great channel and your responsiveness to questions. Lots of great information here!
@@stageleftaudio Yes! The v4 firmware made the M32 a ‘full function’ piece of kit for me. It and the X32s I have aren’t the most robust pieces of gear I’ve driven…but I don’t do tons of shows anymore. (And the gear doesn’t get beat up as badly!) So many people have come up with 3rd party apps for tablet control and Theater Show Control that it’s become hard to leave it behind! (That’s why I’ve been dragging my feet on the Allen & Heath consoles.) When I try and walk on from the Behringer ecosystem, they pull me back in!!!🤣😂
Hello sir, what small foorprint sub can you recommend of a good compromise with power, weight, size and prize? Maybe a 15 inch? I dont have a big van. Thank u!
We use a single RCF 18" sub for some events that does exceptionally well. I have mixed on some gear that has used EV 15" and 18" subs; both of these worked really well.
Each mixer has their strengths and weaknesses. For this event, the A&H was easier to use in bright light (as was just commented) compared to the Presonus. We like both consoles.
both companies make entry level consoles, as you see here with the QU, however, Allen & Heath actually do professional consoles as well, once you get up into the SQ, Avantis, and dLive systems. Presonus don't do anything like that.
It was perfect. More than enough power for this event. We use single sub deployments for many of the shows. For the larger shows, we will use 2 or more subs.
That team is not aligned in time and phase. It's a vital point in any scenario trying to sound halfway decent. This subwoofer is physically ahead of the entire system, and a delay must be applied to it.
Wireless can be a good option, but can be unstable to use. Occasionally, I mix for bands using their gear (including iPads/tablets). It is convenient, but there have been issues with connectivity drop-outs, slow responses on the iPads, screen is very difficult to see during outdoor (daytime) shows, battery life issues, sometimes the screen (or app) does not respond to touches, etc... A few years ago while mixing on an iPad in a bar, the channel faders started moving on their own. Luckily, It did not affect the volume level of the instruments, but I had to touch the fader channels to get them to reset to where they should have been. This is just a few of the issues I encounter with wireless options. As a service provider (which I am), I cannot risk the potential of console issues during events; this would be unacceptable with my customers; which is why our setups are always wired. I do know of two providers that use wireless mixing, and they enjoy it. However, I still think wireless mixing is a great tool for bands (as part of their own PA). They can get themselves dialed in and then just hand the iPad over to whomever will be mixing them. Wireless mixing is a tool, but it is not the right tool for the services we provide.
@@stageleftaudio it’s not a wireless console you can physically mix on the console your term for wireless console does not make any sense to me. Even the qu is considered wireless because you have the option to use the iPad app with a router. I’m talking about the berhinger wing compact not the wing rack my friend…
My mistake, thank you for the clarification. I thought you were eluding to wireless mixing. For the Behringer Wing Compact, I have no experience with it. Unfortunately, my experience with past Behringer products have not been too good. I would probably not move to a Behringer product as an upgrade (unless I have worked with it before). At the moment, I would probably move to another A&H product first.
@@stageleftaudioWhat kind of forum would you need to be in to throw out some ballpark figures? Back when I was doing this kind of work I always felt like I was giving my hard work away. I’m just curious to hear some ballpark figures really.
We cannot discuss service rates. We meet directly with customers to determine their needs and will determine a service rate based on their needs. Providing sound (as a service) can be a lot of work and a lot of hours. And as such, it's important to ensure an affordable service to the demographics that are requesting a service. There's a lot of variables involved with setting a service rate. Economics vary greatly across the US (and the world).
All lines are kept out of the way and lay flat as possible on the ground. We run a yellow power cord for FOH. The yellow color makes the cord easily visible... therefore, greatly reducing trips.
Not necessarily. A wifi setup would only impact the cabling for FOH. The FOH cabling is a very small part of all of our setups; all the band inputs and FOH sound outputs along with monitor wedges (if using floor monitors) still need to be cabled (this can't be avoided). As part of our service, we do not use wireless console connectivity solutions.
As legendas estão ativadas para nosso canal. No entanto, as legendas de um vídeo podem levar algum tempo para serem geradas. Muitos vídeos novos que postamos ainda não possuem legendas, no entanto, alguns de nossos vídeos mais antigos possuem.
i think us sound engineers are the unsung heros of events , i just did sound for a local community event with my trusty EAW kf850 SB850 and Allen and heath sq7 and crown amps and people complimented the sound quality
Very true. Nice gear you have.
A lot of people don't relies how much work a sound engineer has, hours before the gig and hours after the gig to get all the equipment set up and tear down at the end of the night . Just a small system like this one 16 or 24 channel board is a lot of work after set up you have sound check every thing to make sure all of it working ... cuddles to all sound engineers out there ...
First in, last out, and often the unsung hero.
Thank you for your comment!
Someone Give this person a medal
Thought they just wondered off and drank beer while your mic is off.
Seriously though, unsung heroes
*realize.
Excellent band, excellent job Bob and KC. Congratulations! Still rockin' Stage Left is great production company! 😊😊
Thanks for your great comment!
I'm glad that you are safe and sound from hurricane Helene and hopefully you didn't get too much damage from it.
Thank you!
Great video, you guys worked hard!
Im new in this . I think it was an amazing sound . Congrat.....
Thank you.
looks like another amazing event, so sorry i had to miss it. great work y'all
Thank you sir!
Great job 😅. It's a very hard job, but you guys made it happen. I do dj too. I use power speakers for all now. Thanks for sharing.
Thank you for your comment.
HAI SIR UR DOING HARD WORK AND ENJOY THE WORK I SEE YOUR ALL VIDEOS TQ SO MUCH FOR UPLODING VIDEOS TQ ONES
Thank you for watching!
U2 covering the cure.. love it😂😂😂.. great job as always
@djrickysmith one:40 does 2 sets of U2 and a variety set including a 4 song block of The Cure, fun stuff!
Another great job Bob.
again a very nice vid. thanks for sharing
Thanks again!
Awsome video ..... ❤❤❤❤❤
Thank you!
wow beautyful sound Good job ✋
Thanks for watching!
Awesome job, Bob and KC! Thanks for all you do!
Thank you Charlie! We had a great time working your show!
thus great work...looking forward to work with u
Quality output👍
Good job 👍
Great video!
I setup sound for one band, that cured me, that job sucks, my hat goes off to you, for doing this job, a lot of Bull work, that A&H board is killer!! I had a day job anyway so i did not need to run sound. But it is not easy, and would never ever do it for a living.
Nice decision having the digital console and analog multi
Thanks. Most of our shows are configured that way. We will use a digital snake solution, but only for certain events.
Have you considered using a switched mic for TB? Would save a lot of going back and forth between layers
Yes. Many years ago, I used a switched mic. The switch was always noisy when used (a lot of clicks/crackling), and eventually the switch stopped working after only about 3 years (resulting in intermittent audio with the mic). However, the mic I was using back then was a very cheap mic I used entirely for TB! I'm sure the switches are much better now on some decent mics. I have thought about going back to a switched mic, but at the moment, I don't use TB too much anymore, may be a few times a year. For larger events, we use comms to communicate with the stage (stage-manager, etc...) and have them communicate with the artists.
good job sir👍
Thank you for watching.
Thank for the video
You're welcome.
hey, nice day, good sound, have fun & sun
Great job with the set-up I have a set-up similar to yours but I usually have to bring more channels for a small show sometimes 48 channels the problem is I supply all my production sound and lighting and a lot of hours making sure everything is running properly and mixing the show and tear down but the organizer only wants to pay $500 a day that I end up giving them less subs and powered tops and I charge to bring in everything was $1,250 a day is it too much or should I charge them more need some pin points Thanks
Thanks for your comment. Good question. There's a lot that can go on with determining pricing (far too much information than what I could add to this response). With that said, here are some points to consider.
1. Customers (or potential customers) will have a budget in mind for their event. If you wish to provide a service (or least bid for the service), you may need to adjust the equipment you will provide for their event... as well as your expectations of what you think they may need for the event.
2. Have other equipment available for smaller events.
3. Customers usually do not care what type of console would be used for their event. All they care about (and I agree with the customer), is can someone provide the service I need for the budget I have... with whatever equipment will be utilized.
4. The amount of time you put in to work an event (setting up, tearing down, ensuring all gear works, etc...) should be irrelevant to the customer. The amount of time you put into all that work is all part of the "service", and most customers do not care (nor should they) how much work you do to provide the service.
5. Providing sound is a service based industry. A lot of services are based on customer budgets.
We have several types of consoles, speakers, snakes (analog/digital)... all of which is available for various sized events. When we bid on events, our quotes are for equipment sized for that particular event based on the needs (and budget) of the customer.
Hope this will get you thinking.
👍✅ I get some good ideas from every one of your videos, tks👏
Happy to hear to that!
Done watching from Philippines
Great content as always. Do you by chance know where I could find a ramp just like you have for the van? Thanks in advance
Thanks for the comment.
Here's the ramp we use:
ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742
-- At the time I got the ramp, they could only be purchased through EZAccess. I'm not sure if that is still the case.
@@stageleftaudio Really appreciate it! Thanks for taking the time to help.
Thanks for filming all this! I learned some stuff! Wondering if the one double 18 sub was enough? (I know there's limitations like budget, manpower, and space in the van). Also, I always wonder how you safely run cable from the stage to the FOH so attendees will not trip and fall. How do you guys handle that?
Thanks for your comment.
Yes, the double 18 was more than enough for this event; in fact during sound-check, we had to bring down the kick-drum and bass due to the volume level. Also, with the double 18 sitting in the center, this provided coverage over the entire listening area.
Good question on the cable runs between the stage and FOH. On hard surfaces (i.e. parking lots, exhibition halls, etc...), we use either rubber cable covers (with black/yellow tape for visibility), or heavy rubber cable conduits (black w/yellow covers). For outdoor events (i.e. in this video), we run a yellow power cable next to the snake cable. It's the yellow power cable that provides the visibility for safety.
Sangat keren sekali...salam dari saya di jakarta
Terima kasih dari Amerika!
here's me as a DJ getting shut of the subs in my 40s because of the weight and noise complaints.
im currently trying to cram an 8 channel mixer, mic receiverx2, IEM transmitter, sound card, 10 inch monitor, cabling and power strip in to what I think was a Guitar pedal case. All to save carry big heavy boxes. especially to plug and play venues. Lots of UK venues you can't even park close to for unloading.
Sounds like a lot of work to reduce the number of cases to bring in to a show!
@@stageleftaudio I used to play with cardboard boxes as a kid. So, I must be harking back to my childhood with plywood boxes instead. ?
How do you crossover your subs and Main PA. can you do a video on your PA tuning
For this event, we are using a DBX Driverack 260 for the crossover. We send the mid/high frequencies through return #2, then use an XLR splitter to connect the FOH top speakers. The low frequencies are sent through return #1 and connect directly to the Crown MA5000i amplifier, which is used to drive the sub.
Our PA tuning is adjusted for most every event; we do not use the same configuration each time. This is to accommodate the choice of speakers we use, inside/outside show, type of music. We do have some older videos covering how a crossover (analog crossover) works.
Do you prefer the Tannoys over the JBL?
In general, yes. The JBL cabinets do a better job producing a "punch", though they do not reproduce the lower-frequencies as good as the Tannoy's. As well, the Tannoy's are more efficient. The JBL's are still good cabinets and we plan on still using them at some events.
@@stageleftaudio I've seen a lot of sound companies have the Tannoy, and I've seen them in auction. I just never heard one knowingly. Thanks for the reply back.
What crossover brand you are using?
We use DBX DriveRack 260
It's a shame Crown discontinued those non-DSP macro tech-I amps; the ones with the DSP cost a fortune. Great job with the PA system, as usual. Do you mind sharing which Tannoy speakers you use?
Thanks for your comments. Actually, the Crown amps we use have DSP on them, however, the DSP is only configurable using a laptop. This may be a problem for some users, but for us, our Crown amps are only used for sub use, therefore, the DSP is configured on them once and we don't need to touch them again. We use the Tannoy VS218DR subs for some events.
What ramp is that? Where did you purchase? Thanks
It is from a company called EZ-Access.
ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742
The ramp in the video is 8ft tall. Hope this helps.
I like the ramp what brand is and where i can find it?
It is from a company called EZ-Access.
ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742
@@stageleftaudio How many feet does the one you use have?
Ours is 8ft.
23:46 is that an special sun protection?
Yes.
❤
Hi sir, how do you mix your kick drums? aux send to sub thump and mains for the pop? sounds really good and tight..
Thanks for your comment. We use a crossover (dbx-260) at FOH for the PA. No aux-fed sub is used.
I left this job 20 years ago. No regret.
I understand.
Why did you leave the job
Thıs job get your normal life and it turns you a mad
I 2nd this!
But, here I am, watching his video, missing it. It’s so much fun!
So why use an outboard Driverack instead of using the digital console/matrices as your system controller? Thanks for the video and ramp recommendation!
Good question. Here's my 2 cents on the trend of using consoles as a xover. Pertaining to the crossover function of the Driverack... the DR-260 is designed to function as an actual crossover. It is simple to use, is effective, and can be easily tuned on-the-fly during an event. It allows for these choices of which filters to use for HP / LP xover filtering - (from the 260 manual):
* BS (Bessel) with a slope of 6, 12, 18, or 24 dB/Octave.
* BW (Butterworth ) with a slope of 6, 12, 18, or 24 dB/Octave.
* LR (Linkwitz-Riley) with a slope of 12, 24, 36, or 48 dB/Octave.
The choice of these settings is what allows the PA to function as a sound system. The 260 can also be used for aux-fed subs (which we do not do) and cardioid setups (which we do use).
As of this writing, I'm not aware of any console (at least the sub $10K consoles) that provides this level of professional control and sound quality over a main PA. Using a console as a crossover (when it is not designed for that purpose), usually yields unprofessional results and adds unnecessary complexity to a basic (i.e. 2-way) setup, as well, it consumes outputs on the console.
However, there may be some people who are ok with using their consoles as a crossover. Ultimately, it's what the person thinks will work best for their setup. We will never use our consoles as crossovers.
@@stageleftaudio I appreciate the detailed reply! I'm always more interested in "why" people choose things rather than "what" they choose. I don't want to stray into the 'Aux-fed sub' controversy...🤣...but as for the various crossover filters and slope choices: The M32 (X32) series of mixers offer all (or all least nearly all) of these choices on the 6 Matrices. I've used them as crossovers for several events (indoors and out) and was very satisfied with the system results. The matrix channels can also have phase inverted so that along with output routing delay makes cardioid sub arrays very simple to create. I haven't gotten to know all of the A & H boards intimately yet--(just started playing with them in the last 18 months or so) but I would be shocked if they didn't have these filter options available somewhere in the library. I agree that a dedicated piece of hardware is nice to have to remove the 'thinking' part of the equation but I really hate lugging outboard racks for FOH to temp stage locations. (my back is old and there's not much room in my van either!!).
Thanks for the great channel and your responsiveness to questions. Lots of great information here!
Good to see the M32 has addressed the filter problem! Thanks for your great reply!
@@stageleftaudio Yes! The v4 firmware made the M32 a ‘full function’ piece of kit for me. It and the X32s I have aren’t the most robust pieces of gear I’ve driven…but I don’t do tons of shows anymore. (And the gear doesn’t get beat up as badly!) So many people have come up with 3rd party apps for tablet control and Theater Show Control that it’s become hard to leave it behind! (That’s why I’ve been dragging my feet on the Allen & Heath consoles.) When I try and walk on from the Behringer ecosystem, they pull me back in!!!🤣😂
Nice! You have a good reason to stick with Behringer! I'm hoping other console manufacturers will address the crossover issue!!
Why would you send the microphone signal to the subwoofers 🤔?
Because there are low frequencies present in vocals. Without the lower frequencies, vocals can sound narrow/thin.
22:49 What the song is this? Does anybody recognize it? It sounds so familiar but I can't hear the lyrics clearly here...
Song by U2: "Stuck in a moment you can't get out of it"
@@stageleftaudio Thanks for the hint! And for sharing your process as well!
Do you maintain a "Plan B" in the event something goes awry with a crucial part of your gear while on location, (i.e. mixer craps out, etc.)?
Yes. We do have some redundancy (mixer, cables, amplifiers, mics) at every event. Good question.
Hello sir, what small foorprint sub can you recommend of a good compromise with power, weight, size and prize? Maybe a 15 inch? I dont have a big van. Thank u!
We use a single RCF 18" sub for some events that does exceptionally well. I have mixed on some gear that has used EV 15" and 18" subs; both of these worked really well.
Does Allen & Heath be better quolity mixers then Presonus?
it is easier to use in the bright light
Each mixer has their strengths and weaknesses. For this event, the A&H was easier to use in bright light (as was just commented) compared to the Presonus. We like both consoles.
both companies make entry level consoles, as you see here with the QU, however, Allen & Heath actually do professional consoles as well, once you get up into the SQ, Avantis, and dLive systems. Presonus don't do anything like that.
Of the consoles I've used, the Presonus has the best workflow. If I were to move forward with a larger scale console, my preference would be DiGiCo.
Hi sir how are you why you are not upload videos current time I am learning PA system. From Sri Lanka ❤❤❤
Sir one doubt mid frequency Knob full cut while sound is better or knob boost while sound is better
Always cut the frequency first to make the sound better. Boosting a frequency should be last, only if the frequency cut did not work.
@@stageleftaudio Thank you sir always respect you❤❤❤
Sir one doubt must need a pre amp like Behringer mx822 pro for best sound. Connected with analog mixer
Just one sub? How was that?
It was perfect. More than enough power for this event. We use single sub deployments for many of the shows. For the larger shows, we will use 2 or more subs.
@@stageleftaudio wow... i would love to hear how that sounds...
That team is not aligned in time and phase. It's a vital point in any scenario trying to sound halfway decent. This subwoofer is physically ahead of the entire system, and a delay must be applied to it.
Thanks for your comment. Why do you think a delay was not applied?
Now that the berhinger wing compact is out would you consider upgrading from the qu16
We do not use wireless console connectivity solutions as part of our service.
@@stageleftaudio what? Please explain more
Wireless can be a good option, but can be unstable to use. Occasionally, I mix for bands using their gear (including iPads/tablets). It is convenient, but there have been issues with connectivity drop-outs, slow responses on the iPads, screen is very difficult to see during outdoor (daytime) shows, battery life issues, sometimes the screen (or app) does not respond to touches, etc... A few years ago while mixing on an iPad in a bar, the channel faders started moving on their own. Luckily, It did not affect the volume level of the instruments, but I had to touch the fader channels to get them to reset to where they should have been. This is just a few of the issues I encounter with wireless options. As a service provider (which I am), I cannot risk the potential of console issues during events; this would be unacceptable with my customers; which is why our setups are always wired. I do know of two providers that use wireless mixing, and they enjoy it.
However, I still think wireless mixing is a great tool for bands (as part of their own PA). They can get themselves dialed in and then just hand the iPad over to whomever will be mixing them. Wireless mixing is a tool, but it is not the right tool for the services we provide.
@@stageleftaudio it’s not a wireless console you can physically mix on the console your term for wireless console does not make any sense to me. Even the qu is considered wireless because you have the option to use the iPad app with a router. I’m talking about the berhinger wing compact not the wing rack my friend…
My mistake, thank you for the clarification. I thought you were eluding to wireless mixing. For the Behringer Wing Compact, I have no experience with it. Unfortunately, my experience with past Behringer products have not been too good. I would probably not move to a Behringer product as an upgrade (unless I have worked with it before). At the moment, I would probably move to another A&H product first.
is KC Ghanaian...if so I just spotted a Ghanaian...Ayikoo
I'll have KC look at this post!
Yes, I was born in Ghana.
@@midwayproaudio6932 ...Ayikoo to You Sir...I'm also a Sound Engineer in Ghana...
How much would a setup like that cost at a festival
There are many variables involved with service rates. Unfortunately, we are unable to discuss service rates on public forums.
@@stageleftaudioWhat kind of forum would you need to be in to throw out some ballpark figures? Back when I was doing this kind of work I always felt like I was giving my hard work away. I’m just curious to hear some ballpark figures really.
We cannot discuss service rates. We meet directly with customers to determine their needs and will determine a service rate based on their needs.
Providing sound (as a service) can be a lot of work and a lot of hours. And as such, it's important to ensure an affordable service to the demographics that are requesting a service.
There's a lot of variables involved with setting a service rate. Economics vary greatly across the US (and the world).
HOW do you AVOID trips and snags with your power lines ????
All lines are kept out of the way and lay flat as possible on the ground. We run a yellow power cord for FOH. The yellow color makes the cord easily visible... therefore, greatly reducing trips.
info about your load ramp ?
ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742
Is your sub active or what because I had you saying that you are powering your sub please I didn't understand there
The sub is passive. It is being powered by the Crown MA 5000i amplifier (the bottom amplifier in the rack). The top (mid/high) cabinets are active.
hello there, just interesting, is it not simple to use wifi router to avoid the cables for this small gig?
Not necessarily. A wifi setup would only impact the cabling for FOH. The FOH cabling is a very small part of all of our setups; all the band inputs and FOH sound outputs along with monitor wedges (if using floor monitors) still need to be cabled (this can't be avoided). As part of our service, we do not use wireless console connectivity solutions.
@@stageleftaudio I mean not to do a mixer tent station, to avoid the cables u could use remote application from your phone or tablet
Thanks for the reply. I see what you mean. Ultimately, to avoid unnecessary connectivity issues, we do not use wireless mixing.
Spankings ! For all the Crazy Rapid Panning ! Pan Slow.. Not back and forth like a crazy ! Made me sick.
Ative a legenda por favor
As legendas estão ativadas para nosso canal. No entanto, as legendas de um vídeo podem levar algum tempo para serem geradas. Muitos vídeos novos que postamos ainda não possuem legendas, no entanto, alguns de nossos vídeos mais antigos possuem.
hi sir I'm from India i wanna work with u sir I'm a sound operator sir is their any job sir ?
Thank you for your interest. There are no jobs with us.
@@stageleftaudio ok sir
Whyy uncle whyyyyyy , you are alone ?? 😮😮😮 🤷🤷
The subwoofers don't sound that good. Maybe you didn't want to push them. Kind of lack of the thump.
The camera is compressing/limiting all audio.