I agree, Bart. I choose and maintain my gear and know what to expect and keep extra of everything. I have worked with these guys and they are great. I have a gig later this year with them. My favorite quote: "It's always something" to go wrong.
Thanks Bill! I have been teased about how big my gig bag is! Where do you draw the line for "walk in" gigs? Agreed...really good band that brings the party and connects well with audience.
@thesoundcouple Bart, it's tuff! What do you bring? Last bar gig, I brought my own mixer, my full bag of xlrs, drum mikes, vocal mikes, 4 mike stands and mytablet/laptop purse(lol). Only to find out the band had their own cables, Mike stands, vocal mikes and the drums were electronic with separate outputs. Now I know I need none of the cables stands or mikes. But I keep it in the vehicle...just in case. A bar I fill in for frequently I bring mixer, tablet and sometimes large touchscreen w/mini pc. I really should have 3 or 4 xlrs of multiple sizes just in case. Always a challenge.
@@billr1879 I carry a rolling duffle...there is a lot in it! Tape, cables/adapters/splitters of all sorts, a few mics, headphones, batteries, iPod, flashlight, aspirin, ear plugs, band-aids, multi-tool, cordless screw driver, deodorant, Sound Tools Cat Snake, label maker, guitar strap, bass/guitar strings and a pair of drum sticks!l....I know I am forgetting a few things!
What a thoroughly intriguing and “lessons-filled” video! Thanks, Bart, for sharing your “night out at a club” gig. While we missed seeing Stacy working alongside you, we particularly enjoyed seeing how “familiarity brings both joy and contempt.” Not that you were in any way “full of contempt.” But, your very balanced summary at the end of the video was particularly instructive and truly helpful. For my own personal purposes, I noted the following lessons among the many opportunities for learning that this video provided: 1. This club is fortunate that they could connect with you at the last moment to fill an important role on this occasion. Your choice, Bart, to arrive well in advance of the start of the gig gave us a good reminder that we must leave enough time to do “everything that must be done.” All the more so, this is true when stepping in at a location where a sound professional may not have worked recently. Things do change and it’s good to leave enough time to refamiliarize oneself with the setup at a particular venue. 2. I greatly appreciated you walking us through the steps you had to take to initiate the equipment operation. For those of us who must, from time to time, depend on help from others when we can’t provide production services that we normally provide, it is a good reminder that a written set of instructions, maintained in an easily accessible format, is an absolute necessity. Fortunately for this club, you were very familiar with how to get the equipment up and running. 3. The equipment at this venue, and your familiarity with it, serves as a good reminder that several brand names are actually compatible with other software and hardware within the same corporate family that manufactures products under various brands. In this case, the compatibility of the Midas console with the Behringer iPad software stands as a good example of this phenomenon. It may be well known, throughout the industry, that both of these brands are manufactured at the same facility in China by the parent corporate entity, Music Tribe. Your use of the Behringer software to control the Midas console made this point very clearly. 4. Many learning opportunities were presented during your attempts to troubleshoot various problems that arose during this gig. It was obviously very wise for you to bring along your Sound Tools cable tester. This piece of test gear is a must for all sound professionals. As I write these words, I am looking at my own Sound Tools unit sitting at the top of my tool bag. 5.The problem with the Sennheiser 604 drum mic was particularly interesting to me. This mic has a reputation for long service under very taxing conditions of use. Of course, every mic can fail. I could not help but wonder if something unusual happened to damage this mic. Normally, dynamic mics can resist the inadvertent application of phantom power. However, on occasion, when the power supply of a particular mixer experiences certain component failure that can allow the mixer to appear to operate properly under most conditions, the actual waveform of the phantom power, when observed with an oscilloscope, shows additional artifacts that have been known to damage ordinary microphones that do not require phantom power. It may well be quite unlikely that this is what caused the problem in this case. But, it is worth keeping in mind when encountering failures of non-phantom powered mics when other mics in a system require phantom power. [Consider No. 3 in this explanation: www.sageaudio.com/blog/studio-equipment/basics-phantom-power-microphones.php ] 6. As I stated at the beginning of this comment, Bart’s discussion at the end of this video was a wonderful opportunity to consider some of the lessons learned at this gig. Thanks, Bart, for sharing your insights on this “night out at a club.” As I do at the end of every one of my comments, I feel that I must express appreciation to The Sound Couple for continuing to help those of us who want to learn and grow in our quest to provide truly professional production services.
Glad you enjoyed it Dean! As you know, every gig is an adventure and we don't know where it will go, so this one turned out to be a small adventure for a house gig. I am back there this Friday so we will let the camera roll and see what else can happen! It should be pretty uneventful working with Rhino, but they do have new LED lighting which looks really nice!
X32 can be confusing, but when you figured out everything, you can do so much things. There is at nearly every output and input an equalizer, 4 band with low cut or 6 band and you can define the lowest as low cut if needed. In some rooms you need all equalizer features, to get the voices loud.
I hear you with the club gigs. I have a regular slot at a local venue, and as convenient as it sounds; it's a ball ache to be frank with you. The equipment is years old and has been abused in storage as well as in use; the mixing desk is an X32 which has also been abused; it's got sticky faders, and sticky buttons, so it doesn't behave correctly. The amplifiers are like vacuum cleaner bags, and really need a service, and when trying to do a show, I can never find the cables I need...if I do, they often don't work. I have to admit, it's becoming a real drag and I'm very close to throwing in the towel with this one. Each time I do a show, I want to take my own gear in with me; 99% of the time, I have my gear with me, but I stop myself from doing it as they're paying me to engineer only, not to provide all the kit...
Yep, the best thing about house system is walking out the door at the end of the night...To be fair, I am out of loop and I have done plenty of gigs on that system over the years without a hitch.
One of my regular gigs has been the house engineer at a local Pub. Repairs need to be done as soon as possible in these situations to maintain good work flow and the Venues reputation. It’s nice that when other engineers come in to use the system that they leave saying the system worked flawlessly and the gig was a pleasure to do. I feel your frustration with this gig.
The sillyness, yeah! Yesterday I did a gig and looking for cables that were outta place in our storage threw me off! That happens here too. Hehehe cheers from Brazil. Love your videos.
Thanks! Yeah...walking in to systems can be a challenge. There are couple of rooms in my memory that are mind blowing to me how they got away with what they called "the house system".....horrible doesn't even begin to describe it.
In situations like this, I plop my mobile rack mixer on the stage with wifi built in, patch everything into my rig, send to monitors from it, and run the L/R[/sub] down the snake and either bypass the house mixer altogether or go into a dedicated "DJ" input. There's also a driverack in the rack in case the house PA needs some wrangling. I also will bring my own mic package. Cables will be cables, but this extra 5 min of load in is worth using a rig I know will work.
We used to do that with the old system...I would bring in my PreSonus RM32 because the A&H GL2200 was flaky. The system there now is plenty good...I just hit a bad streak.
Power distributions can really vary, especially depending on the level of shows you do. For us, we shared our approach in this video here: ruclips.net/video/_GFD0fCxmbU/видео.html
Great video! It is frustrating to deal with someone else's gear that is not well maintained or documented. Looks like you made the best of the evening. Weird that the X32 wasn't on the AES50 stage box inputs - is that because of a power cycle or just the default behavior?
The standard configuration for the club is to run the monitors off the X32 Compact pre's - Switching it to AES50A, switched it to DL32 which places the Compact pre's into Trim mode.
@@thesoundcouple 100% Sadly, I don't know anyone who uses the PreSonus speakers near me, I've never heard them. I like to work on other gear, but it's always nice to go back to your own; especially as you know what works and what doesn't.
We think it's unfortunate that the CDL's aren't supported more (they are back for purchase but could be more popular if they were pushed more)....Not trying to be biased, but they really do sound good. It's scary how easy they make my job. Are they going to blow the roof off? No but their design and size.... you gotta keep it in perspective!@@johnmcquay82
I didn't realise they're no longer supported, that is a shame. They're a neat concept that seems to work really well. They may not take the roof off, but they certainly seem capable given the variety of events you use them for, and that I think is what makes good speakers good; you can use them in variety of configurations for a variety of needs and they still deliver the goods.@@thesoundcouple
Ahhh...I should clarify, they are supported, they just stopped production of the original wood CDL's for a year or so. Now they are available again for purchase!@@johnmcquay82
Hey Bart, Soundasaurus here.. I feel you man! First: you are used to operating first class equipment that is well maintained and integrated in a highly efficient and flexible way. You have control of virtually everything that matters from power through performance. Now you walk into someone else's place using their stuff and things don't work as they re supposed to work. Bad mics, cables, channel strips etc. That makes for a crappy and stressful night! The good news is you worked hard and smart to sort through the issues. You hit it out of the park pal... you made a good band sound great! Don't be too self critical about being less resilient . I think you should channel that into positive energy: you did a GREAT job under less than perfect conditions ! One suggestion: perhaps include contract language that states if you are using "house" or other's equipment, you will NOT BE RESPONSIBLE for troubleshooting, fixing, repairing or using broken, defective or inadequate equipment. That situation is a fail of the club owners and whoever else manages that equipment. BTW: I noticed in a previous video that there was a Ric Cheyenne on the wall were the CS64 used to be??? Doyou still have the CS64?
Good insights....I think resilient can be somewhat synonymous with "been there done that", but I really don't mind the gig. Part of it as well is that it's feels good to have time off too. Yeah, the Ric's...there's a small collection there :)
For gigs like this pack a pelican case with stuff you need like spare xlr cables and adapters and mics and stuff and there’s videos that you can get ideas of what can be inside a Pelican box
Since this video, the club has now replaced the par can's with LED's....they look great! I will be at the club this weekend so I will plan on a giving you guys an update....That means you will see the video around Christmas time...LOL!
I do the same as you. I run my own rig. I run a larger mobile corporate rig, and I mix freelance in a few clubs in the area. I had to have a come to Jesus meeting with the other techs at one of clubs where I mix about letting bad mics and cables in service.
The telephone holder on the X32 has one purpose only. Initially the design was differently, they planned something there, that wasn't done. The smaller X32 has an interesting feature. You can turn the DCA/Bus faders into 8 more channels, so you could use 1 to 16 and 17 to 32 at once, as known from the big X 32 but also 9 to 24 at once or maybe 9 to 16 and 25 to 32
I can TOTALLY understand the issue with working at clubs and the setup BS that puts you behind… having your own gear that is top quality spoils you… so small issues become a big pain in the Ass!
Thanks....although I was totally cursing at ours this past weekend! One user error and another one was equipment failure...Most important thing is to work through them regardless.
I scrolled down.... With them being Danley they are either SH50 or SH60.... Both are incredible boxes really. (I am an integrator and a Danley dealer located in Arkansas)
The mains are Danley with EV subs/Mackie monitors. The monitors are old and work great for that room. What a testament to their reliability as they are workhorses!
Question. Love watching your gigs. When you record on your Presonus, do you record onto the SD card them upload or straight into your DAW ? I have a Studiolive 64s and love it !!
We tend to use the computer more often. The SD card works fine, but the computer is there anyway so it's easier in that sense. The other thing I am not good at is remembering to close out the session before turning off the mixer. I have lost a few recordings because of this..not really possible to have this happen using the computer.
The mains are Danley with EV subs..I can't remember the models. I have no problem with the actual system in the room. It's sounds good and it's easy to operate.
those intermitent issues are almost always cable related. whether a drink got spilled into a stag box or something on a previous night anything could have happened. in a place like that if there is spare inputs on the consoles stage box i just run a long new xlr straight home to the console stage box into a new channel and soft patch it on the desk. saves you stuffing around with limited time and quickly solves the problem in the moment rather than spending your time diagnosing someone elses problem just get the show up and let the production manager know channel whatever gave you problems they need to check it.
If your crazy enough, you could install rear speakers and put one of the reverbs on it. This can make the sound impressive. But in most rooms you would need a unit that take reverb away.
Networking can be complicated. I try and label any router I set up of course that doesn't mean somebody doesn't go in and change it. As a back up I'm already carrying a travel router and if I need to I can set that to AP mode and plug it into the House network and be in no password required and then all my devices connect up to my network and I don't have to change anything. you have to be a little worried about wifi crowding but that's only for 2.5GHz and if you're not using the House Wi-Fi you're not gonna have conflicting data on that channel.
Things like faulty equipment build character throughout the early stages of a "career" as a sound guy, I almost want those things to happen. I couldn't imagine doing this for 20+ yrs not knowing how to troubleshoot on the fly.
Yes, character building is good and a concept that seems to be getting lost these days under the auspices of what was once known as "paying your dues". I guess there are times when even I feel entitled that I have paid my dues and I don't want to deal with this crap!
Bart . The next time Channel 11 happens(any Channel) to you pull the mic and cord and take it to the board and plug it in. If it works it is the snake . It cuts down on the time you spend Chasing your tail. I still have all of my Hair . LOL..
That's a good idea...I do believe the mics were intermittently having issues which is part of the reason why it took so long to get them replaced....always a good time!
Yes! You are absolutely correct and the way this system is configured, there is an option to use more of an analog approach. I cannot help myself when it comes to utilizing technology. From an approach perspective, there are certainly ways to avoid some of the technology pitfalls that were encountered.
Well if you’re not sure it was a snake and the cords seem to be good instead of sticking to your straight in a row method you could’ve took and ran a good mic cord with that mic into a channel further down the channels and you always could of used that vocal mic if it was available it would’ve took some eq , etc.
@@thesoundcouple I didn’t mean it as criticism I enjoy watching your channel , you two are great, It was just something I thought of, sorry if it sounded wrong
@@rusinjeff5959 No worries - I didn't take it that way. We put this out there to have the conversation and what's cool is we can point things out that will help us be better prepared.
@@thesoundcouple I always wonder if it was me dropping the end on the floor just right and shattering a bad solder in the end. These things are built with witchcraft, right?
I hate it when I go churches to mix and they have so many bad cables musicians show up late also with bad cables this is more than stress so what I do now if it’s not my sound system I walk with mics and cables just in case
Yeah, I hear you....it's just how far do you go? I bring my trusty Beta 52, but gotta draw the line somewhere and the 604's have a track record of being a solid mic.
Yes, that's not a bad idea which I have done in the past. I just like to minimize what I am messing with...I would hate to be the cause or be blamed for other problems.
For me the whole mix template thing only works on some consoles. On my dLive all the fader layers are user assignable, so even though I have a template with a load of channels, It's dead simple, and quick to just put the channels I need on the surface, and everything else can go away. Other consoles it's less awesome. I'd prefer not to mix around a bunch of un used faders in between everything
@@thesoundcouple yeah, having every layer a user layer as opposed to just the 1 is a big deal for me. The template lets me have a more complex show file with different bussing, plugins, and a bunch of FX, and not take literally any time getting the console ready. I can have a near studio sounding mix together in minutes this way. it's pretty great!
I would definitely NOT enjoy mixing on a system I wasn’t completely familiar with and in control of. There are soooo many ways a system like that can get screwed up.
Club gear is always in bad shape. There is no one to take care of it and it gets beat all to pieces. I used to do a lot of club gigs and house gear was always turn up.
In this case, the system is maintained, it just the person who doesn't work on it consistently so it's kind of like the telephone game where the messages change or go unreported.
I blame it on you driving your old van to these old clubs filled with gear that has glitches. Go back to the newer van and your life will change for the better...
Always enjoy your videos.
Glad you like them!
I agree, Bart. I choose and maintain my gear and know what to expect and keep extra of everything. I have worked with these guys and they are great. I have a gig later this year with them.
My favorite quote:
"It's always something" to go wrong.
Thanks Bill! I have been teased about how big my gig bag is! Where do you draw the line for "walk in" gigs? Agreed...really good band that brings the party and connects well with audience.
@thesoundcouple Bart, it's tuff! What do you bring? Last bar gig, I brought my own mixer, my full bag of xlrs, drum mikes, vocal mikes, 4 mike stands and mytablet/laptop purse(lol). Only to find out the band had their own cables, Mike stands, vocal mikes and the drums were electronic with separate outputs. Now I know I need none of the cables stands or mikes. But I keep it in the vehicle...just in case. A bar I fill in for frequently I bring mixer, tablet and sometimes large touchscreen w/mini pc. I really should have 3 or 4 xlrs of multiple sizes just in case. Always a challenge.
@@billr1879 I carry a rolling duffle...there is a lot in it! Tape, cables/adapters/splitters of all sorts, a few mics, headphones, batteries, iPod, flashlight, aspirin, ear plugs, band-aids, multi-tool, cordless screw driver, deodorant, Sound Tools Cat Snake, label maker, guitar strap, bass/guitar strings and a pair of drum sticks!l....I know I am forgetting a few things!
Resilient enough! Great content
What a thoroughly intriguing and “lessons-filled” video! Thanks, Bart, for sharing your “night out at a club” gig. While we missed seeing Stacy working alongside you, we particularly enjoyed seeing how “familiarity brings both joy and contempt.” Not that you were in any way “full of contempt.” But, your very balanced summary at the end of the video was particularly instructive and truly helpful.
For my own personal purposes, I noted the following lessons among the many opportunities for learning that this video provided:
1. This club is fortunate that they could connect with you at the last moment to fill an important role on this occasion. Your choice, Bart, to arrive well in advance of the start of the gig gave us a good reminder that we must leave enough time to do “everything that must be done.” All the more so, this is true when stepping in at a location where a sound professional may not have worked recently. Things do change and it’s good to leave enough time to refamiliarize oneself with the setup at a particular venue.
2. I greatly appreciated you walking us through the steps you had to take to initiate the equipment operation. For those of us who must, from time to time, depend on help from others when we can’t provide production services that we normally provide, it is a good reminder that a written set of instructions, maintained in an easily accessible format, is an absolute necessity. Fortunately for this club, you were very familiar with how to get the equipment up and running.
3. The equipment at this venue, and your familiarity with it, serves as a good reminder that several brand names are actually compatible with other software and hardware within the same corporate family that manufactures products under various brands. In this case, the compatibility of the Midas console with the Behringer iPad software stands as a good example of this phenomenon. It may be well known, throughout the industry, that both of these brands are manufactured at the same facility in China by the parent corporate entity, Music Tribe. Your use of the Behringer software to control the Midas console made this point very clearly.
4. Many learning opportunities were presented during your attempts to troubleshoot various problems that arose during this gig. It was obviously very wise for you to bring along your Sound Tools cable tester. This piece of test gear is a must for all sound professionals. As I write these words, I am looking at my own Sound Tools unit sitting at the top of my tool bag.
5.The problem with the Sennheiser 604 drum mic was particularly interesting to me. This mic has a reputation for long service under very taxing conditions of use. Of course, every mic can fail. I could not help but wonder if something unusual happened to damage this mic. Normally, dynamic mics can resist the inadvertent application of phantom power. However, on occasion, when the power supply of a particular mixer experiences certain component failure that can allow the mixer to appear to operate properly under most conditions, the actual waveform of the phantom power, when observed with an oscilloscope, shows additional artifacts that have been known to damage ordinary microphones that do not require phantom power. It may well be quite unlikely that this is what caused the problem in this case. But, it is worth keeping in mind when encountering failures of non-phantom powered mics when other mics in a system require phantom power. [Consider No. 3 in this explanation: www.sageaudio.com/blog/studio-equipment/basics-phantom-power-microphones.php ]
6. As I stated at the beginning of this comment, Bart’s discussion at the end of this video was a wonderful opportunity to consider some of the lessons learned at this gig. Thanks, Bart, for sharing your insights on this “night out at a club.”
As I do at the end of every one of my comments, I feel that I must express appreciation to The Sound Couple for continuing to help those of us who want to learn and grow in our quest to provide truly professional production services.
Glad you enjoyed it Dean! As you know, every gig is an adventure and we don't know where it will go, so this one turned out to be a small adventure for a house gig. I am back there this Friday so we will let the camera roll and see what else can happen! It should be pretty uneventful working with Rhino, but they do have new LED lighting which looks really nice!
X32 can be confusing, but when you figured out everything, you can do so much things. There is at nearly every output and input an equalizer, 4 band with low cut or 6 band and you can define the lowest as low cut if needed.
In some rooms you need all equalizer features, to get the voices loud.
Working on them on a regular basis really helps!
I hear you with the club gigs. I have a regular slot at a local venue, and as convenient as it sounds; it's a ball ache to be frank with you. The equipment is years old and has been abused in storage as well as in use; the mixing desk is an X32 which has also been abused; it's got sticky faders, and sticky buttons, so it doesn't behave correctly. The amplifiers are like vacuum cleaner bags, and really need a service, and when trying to do a show, I can never find the cables I need...if I do, they often don't work. I have to admit, it's becoming a real drag and I'm very close to throwing in the towel with this one. Each time I do a show, I want to take my own gear in with me; 99% of the time, I have my gear with me, but I stop myself from doing it as they're paying me to engineer only, not to provide all the kit...
That's not this club...but I can certainly relate to the feeling you share.
Another great video. From a load in stand point, a house system is always an easier gig. I much rather prefer using my own gear.
Yep, the best thing about house system is walking out the door at the end of the night...To be fair, I am out of loop and I have done plenty of gigs on that system over the years without a hitch.
One of my regular gigs has been the house engineer at a local Pub. Repairs need to be done as soon as possible in these situations to maintain good work flow and the Venues reputation. It’s nice that when other engineers come in to use the system that they leave saying the system worked flawlessly and the gig was a pleasure to do. I feel your frustration with this gig.
Thanks! To be fair...much of this would be alleviated if I was working there more often.
The sillyness, yeah! Yesterday I did a gig and looking for cables that were outta place in our storage threw me off! That happens here too. Hehehe cheers from Brazil. Love your videos.
Thanks! Yeah...walking in to systems can be a challenge. There are couple of rooms in my memory that are mind blowing to me how they got away with what they called "the house system".....horrible doesn't even begin to describe it.
Thank you for the video.. it's very helpful and great content
Glad it was helpful!
In situations like this, I plop my mobile rack mixer on the stage with wifi built in, patch everything into my rig, send to monitors from it, and run the L/R[/sub] down the snake and either bypass the house mixer altogether or go into a dedicated "DJ" input. There's also a driverack in the rack in case the house PA needs some wrangling. I also will bring my own mic package. Cables will be cables, but this extra 5 min of load in is worth using a rig I know will work.
We used to do that with the old system...I would bring in my PreSonus RM32 because the A&H GL2200 was flaky. The system there now is plenty good...I just hit a bad streak.
Hey Bart. Great video, I like the honesty. Could you do a video on how a power distro works? I can't find any detailed video/info on it.
Power distributions can really vary, especially depending on the level of shows you do. For us, we shared our approach in this video here: ruclips.net/video/_GFD0fCxmbU/видео.html
Great video! It is frustrating to deal with someone else's gear that is not well maintained or documented. Looks like you made the best of the evening. Weird that the X32 wasn't on the AES50 stage box inputs - is that because of a power cycle or just the default behavior?
The standard configuration for the club is to run the monitors off the X32 Compact pre's - Switching it to AES50A, switched it to DL32 which places the Compact pre's into Trim mode.
I miss the CDL speakers this time. I came to know and love those speakers and other Presonus stuff through Bart & Stacy.
thanks - sometimes it's a nice reminder to have to work on gear other than your own - always gives you new appreciation!
@@thesoundcouple 100% Sadly, I don't know anyone who uses the PreSonus speakers near me, I've never heard them. I like to work on other gear, but it's always nice to go back to your own; especially as you know what works and what doesn't.
We think it's unfortunate that the CDL's aren't supported more (they are back for purchase but could be more popular if they were pushed more)....Not trying to be biased, but they really do sound good. It's scary how easy they make my job. Are they going to blow the roof off? No but their design and size.... you gotta keep it in perspective!@@johnmcquay82
I didn't realise they're no longer supported, that is a shame. They're a neat concept that seems to work really well. They may not take the roof off, but they certainly seem capable given the variety of events you use them for, and that I think is what makes good speakers good; you can use them in variety of configurations for a variety of needs and they still deliver the goods.@@thesoundcouple
Ahhh...I should clarify, they are supported, they just stopped production of the original wood CDL's for a year or so. Now they are available again for purchase!@@johnmcquay82
Hey Bart, Soundasaurus here.. I feel you man! First: you are used to operating first class equipment that is well maintained and integrated in a highly efficient and flexible way. You have control of virtually everything that matters from power through performance. Now you walk into someone else's place using their stuff and things don't work as they re supposed to work. Bad mics, cables, channel strips etc. That makes for a crappy and stressful night! The good news is you worked hard and smart to sort through the issues. You hit it out of the park pal... you made a good band sound great! Don't be too self critical about being less resilient . I think you should channel that into positive energy: you did a GREAT job under less than perfect conditions ! One suggestion: perhaps include contract language that states if you are using "house" or other's equipment, you will NOT BE RESPONSIBLE for troubleshooting, fixing, repairing or using broken, defective or inadequate equipment. That situation is a fail of the club owners and whoever else manages that equipment.
BTW: I noticed in a previous video that there was a Ric Cheyenne on the wall were the CS64 used to be??? Doyou still have the CS64?
Good insights....I think resilient can be somewhat synonymous with "been there done that", but I really don't mind the gig. Part of it as well is that it's feels good to have time off too. Yeah, the Ric's...there's a small collection there :)
For gigs like this pack a pelican case with stuff you need like spare xlr cables and adapters and mics and stuff and there’s videos that you can get ideas of what can be inside a Pelican box
Great tip!
Those par cans!!!🤣🤣🤣🤣😂. Sell them some led's. Thanks for the video.
Since this video, the club has now replaced the par can's with LED's....they look great! I will be at the club this weekend so I will plan on a giving you guys an update....That means you will see the video around Christmas time...LOL!
@@thesoundcouple looking forward to it!
new piece of masking tape for every show ;)
I do the same as you. I run my own rig. I run a larger mobile corporate rig, and I mix freelance in a few clubs in the area. I had to have a come to Jesus meeting with the other techs at one of clubs where I mix about letting bad mics and cables in service.
It's a bit easier to offer input when you are on a regular rotation.
The telephone holder on the X32 has one purpose only. Initially the design was differently, they planned something there, that wasn't done.
The smaller X32 has an interesting feature. You can turn the DCA/Bus faders into 8 more channels, so you could use 1 to 16 and 17 to 32 at once, as known from the big X 32 but also 9 to 24 at once or maybe 9 to 16 and 25 to 32
You are correct!
You need the Sonnect Sound Bullet to make troubleshooting and doing one-man-sound-checks quick and easy.
Thanks for the suggestion. That one has been in our radar to check out.
I can TOTALLY understand the issue with working at clubs and the setup BS that puts you behind… having your own gear that is top quality spoils you… so small issues become a big pain in the Ass!
Thanks....although I was totally cursing at ours this past weekend! One user error and another one was equipment failure...Most important thing is to work through them regardless.
that Linea amp is serious kit... What is the Mains rig if you don't mind expounding? I am also only 6:30 into the vid. Good work!
I scrolled down.... With them being Danley they are either SH50 or SH60.... Both are incredible boxes really. (I am an integrator and a Danley dealer located in Arkansas)
Yes, they are Danley cabs - don't remember the model, but the system sounds good!
Congratulations ! had a moment of NOSTALGIA! kkkkkkkkkkkkkkkkkkkkkk
More out of curiosity what is the main system and the returns?
The mains are Danley with EV subs/Mackie monitors. The monitors are old and work great for that room. What a testament to their reliability as they are workhorses!
@@thesoundcouple ok
Question. Love watching your gigs. When you record on your Presonus, do you record onto the SD card them upload or straight into your DAW ? I have a Studiolive 64s and love it !!
We tend to use the computer more often. The SD card works fine, but the computer is there anyway so it's easier in that sense. The other thing I am not good at is remembering to close out the session before turning off the mixer. I have lost a few recordings because of this..not really possible to have this happen using the computer.
Cool looking mains what kind are they? I like them unbranded speakers cool stuff always curious about
I think the mains are EAW kf730s
The mains are Danley with EV subs..I can't remember the models. I have no problem with the actual system in the room. It's sounds good and it's easy to operate.
AHHHH the Humanity !
Sometimes it can feel that way!
those intermitent issues are almost always cable related. whether a drink got spilled into a stag box or something on a previous night anything could have happened. in a place like that if there is spare inputs on the consoles stage box i just run a long new xlr straight home to the console stage box into a new channel and soft patch it on the desk. saves you stuffing around with limited time and quickly solves the problem in the moment rather than spending your time diagnosing someone elses problem just get the show up and let the production manager know channel whatever gave you problems they need to check it.
Good perspective. Thanks!
If your crazy enough, you could install rear speakers and put one of the reverbs on it. This can make the sound impressive.
But in most rooms you would need a unit that take reverb away.
Wow mackie SRM thats a good staff
They sound great!
Hey Bart was wondering what is the name brand of the mic tester. That to me is an invaluable tool, definitely gonna look into getting one! Thanks
Hi Rick - SoundTools makes it: soundtools.com/cable-testers-page-ssxlr.html
@@thesoundcouple Thank you Bart just purchased one!
I use the block method myself. Works better for me.
It's makes my brain feel that things are organized!
The 1st thing I thought was Phantom power. But you ruled out everything and moved on. Good for you.
Thanks Gerald!
Networking can be complicated. I try and label any router I set up of course that doesn't mean somebody doesn't go in and change it.
As a back up I'm already carrying a travel router and if I need to I can set that to AP mode and plug it into the House network and be in no password required and then all my devices connect up to my network and I don't have to change anything. you have to be a little worried about wifi crowding but that's only for 2.5GHz and if you're not using the House Wi-Fi you're not gonna have conflicting data on that channel.
Things like faulty equipment build character throughout the early stages of a "career" as a sound guy, I almost want those things to happen. I couldn't imagine doing this for 20+ yrs not knowing how to troubleshoot on the fly.
Yes, character building is good and a concept that seems to be getting lost these days under the auspices of what was once known as "paying your dues". I guess there are times when even I feel entitled that I have paid my dues and I don't want to deal with this crap!
Bart . The next time Channel 11 happens(any Channel) to you pull the mic and cord and take it to the board and plug it in. If it works it is the snake . It cuts down on the time you spend Chasing your tail. I still have all of my Hair . LOL..
That's a good idea...I do believe the mics were intermittently having issues which is part of the reason why it took so long to get them replaced....always a good time!
Wireless and Digital making it so complicated when it comes to PA system where you wish to go back and just use Analog instead lols
Yes! You are absolutely correct and the way this system is configured, there is an option to use more of an analog approach. I cannot help myself when it comes to utilizing technology. From an approach perspective, there are certainly ways to avoid some of the technology pitfalls that were encountered.
Well if you’re not sure it was a snake and the cords seem to be good instead of sticking to your straight in a row method you could’ve took and ran a good mic cord with that mic into a channel further down the channels and you always could of used that vocal mic if it was available it would’ve took some eq , etc.
Fair enough!
@@thesoundcouple I didn’t mean it as criticism I enjoy watching your channel , you two are great, It was just something I thought of, sorry if it sounded wrong
@@rusinjeff5959 No worries - I didn't take it that way. We put this out there to have the conversation and what's cool is we can point things out that will help us be better prepared.
We tie a knot in cables that are bad. Sends a message to the next person. It is DEAD!
Good idea! The whole idea of the process of when a cable decides to go bad is a mystery of it's own...Is it that one tug that does it in?
@@thesoundcouple I always wonder if it was me dropping the end on the floor just right and shattering a bad solder in the end. These things are built with witchcraft, right?
@@wharman1 It sure feels like it at times!
I hate it when I go churches to mix and they have so many bad cables musicians show up late also with bad cables this is more than stress so what I do now if it’s not my sound system I walk with mics and cables just in case
Yeah, I hear you....it's just how far do you go? I bring my trusty Beta 52, but gotta draw the line somewhere and the 604's have a track record of being a solid mic.
Just connect your own router to a house system. That’s what I do then you don’t have to jerk around with their passwords and everything else.
Yes, that's not a bad idea which I have done in the past. I just like to minimize what I am messing with...I would hate to be the cause or be blamed for other problems.
For me the whole mix template thing only works on some consoles. On my dLive all the fader layers are user assignable, so even though I have a template with a load of channels, It's dead simple, and quick to just put the channels I need on the surface, and everything else can go away. Other consoles it's less awesome. I'd prefer not to mix around a bunch of un used faders in between everything
The PreSonus consoles have the User Layer as well. Even with that, I like things in order, but soft patching makes this obsolete thinking.
@@thesoundcouple yeah, having every layer a user layer as opposed to just the 1 is a big deal for me. The template lets me have a more complex show file with different bussing, plugins, and a bunch of FX, and not take literally any time getting the console ready. I can have a near studio sounding mix together in minutes this way. it's pretty great!
Why I like mixers with Custom Layers!
Malaysia Hadir Memberi Sokongan... 😊 9:23pm Di Sini..
Terima kasih atas sokongan anda!
Seems since Music happens every weekend there, they would keep maintaining their equipment
I know that issues have been reported but it took some time to track down the sources...that I am not sure why.
I would definitely NOT enjoy mixing on a system I wasn’t completely familiar with and in control of. There are soooo many ways a system like that can get screwed up.
It's good to get out of your comfort zone, but picking your battles is also a consideration!
Club gear is always in bad shape. There is no one to take care of it and it gets beat all to pieces. I used to do a lot of club gigs and house gear was always turn up.
In this case, the system is maintained, it just the person who doesn't work on it consistently so it's kind of like the telephone game where the messages change or go unreported.
I blame it on you driving your old van to these old clubs filled with gear that has glitches. Go back to the newer van and your life will change for the better...
Your theory is not valid because I drove my car!....but my car is old too :)
@@thesoundcouple I never said that my theory was valid!