I love that with all those speakers, you still use front fills. People argue with me all the time that they are useless because they don't go far and the bodies absorb the sound, but it really does fill out the sound closer to the stage, especially with silent stages. I find them helpful even on medium bar set-ups. They don't need to be loud to help.
Hey Michael! I use an M32R on my shows. Pro tip on the tablet mixing: Get a Microsoft Surface tablet and run M32 Edit instead of the iPad app. It's a much more useful app that, as you likely know, gives you access to EVERYTHING on the console. With the Surface (or any other Windows tablet) you can use it for live mixing. I particularly love that it has two custom User fader banks; I set up my inputs, and usually one fader of stereo inputs and buses, an FX send fader, etc. It's not a perfect experience (for some reason it will sometimes call up the software keyboard on screens not having any text input), but it's a lot more flexible than the iPad app!
You have great equipment and great skill; the greatest thing that you have is your great attitude. You mention in your videos about being a team player, and we can actually see it in real-life situations. Refreshing. Thank you.
Yes, yes, this! Great to see "on gig" stuff. I know often you don't have time to stop and do a video but this was great - nothing fancy but shows the setup, the where, and the why. Great stuff!
WOW, you seem very calm in this video, and usually, this type of work is stressful especially when something does not go right! Great Job! I wish I knew more about audio I did an audio course at my school but it was just the basics of audio. Keep up this content as well!
No surprise that your atttention to detail, excellence, and joyful spirit extend to this too. Good to see you thriving in this field! Hope you’re still playing bass. Been a long time since jazz band at obu.
Great Video! Was waiting for this video with high anticipation! As always, great explaining! Makes me drool a little looking at all the HDL6A's. I have 6 personally and am blown away with their clarity and power. To have 24 would be a blast to have control of that fader! Great video, keep them coming!
Nice work man. I started my audio career in the live world, although it was back in the days of big analog consoles. Nevertheless, same basic idea, just more cabling and heavier amps and speakers. Anyway, I think this video is great and will be an excellent resource for people looking to get into the biz. I woulda LOVED this video when I first started getting into audio.
Man I work literally right across the street! I wish I would've known you were there! I've been meaning to contact you about some consultation for my churches new sanctuary (hopefully erecting this year) and possibly getting advice for our current speaker setup.
Really like seeing stuff like this. I recently came across your channel and content and am loving what you're putting out! I'm curious about your tuning setup. I saw in your other video I think that you were using all four measurement mics at one time. When you're doing this, how are you getting a ref signal back in? Loopback?
@MichaelCurtisAudio at 7:43 theres a quick shot of what looks like second row laptop / monitor stands on poles or something. Totaly our of your domain but to you know naything about them?
Another great video Mike! 😊👍 Full of very useful stuff! How do you go about hanging the speakers exactly as is in the prediction software? Do you have a video on this perhaps?
Fan of your videos here. Another great one. Nice job! I Was wondering if you can speak to the limitations of the hdl-6a’s in comparison to some of the other models in the product line that are not a lot more in cost Like the 8”, 10” boxes for example Besides the obvious rdnet options. Im interested in the hdl line and i have heard some say the 6’s sound better than the 10’s and 20’s but then some have said the 6’s dont throw as far. Whats your take especially when used in larger out door applications?
I've never used the HDL-10's or 20's, so all I can speak for are the HDL6-A's, which I've used on probably 30 unique shows at this point. I feel like I can get a hang of 12 HDL6-A's to comfortably throw 150ft or so, a hang of 9 about 120ft. This is all up to the trim height available and the SPL required, but these are "ballpark" numbers based of my experience. I end up mixing lower in SPL than most folks for music, so I can comfortably get a 91-94dBA SPL mix to sound great on the HDL6-A's as long as I have adequate sub support. When it comes to "throw" the HDL6-A's experience a pretty steep dropoff above 4kHz or so when going beyond 120ft. Nothing a high shelf couldn't help fix, but you'd have to have separate drive lines to each group of boxes in your hang.
Hi maechel 👍 Just for a ideal condition,, What type of sub placement and sub array ,you recommend for a venue ,,having long audience By knowing that,we want 6db bass variance front to back,,and don't want any noticeable power alleys and valleys And There is no option to place sub at centre,, ,, For ex-in movie theatre,,,high freq speakers are all around us ,,at different positions Can we do anything similar with subs ? And
With all those HDLs I would have predicted better quality front fill to match. High end mixed with MI-level gear. Do you plan on upgrading the point source boxes?
It's not my gear to upgrade, it's what the production company owns. I think they'll be rolling with the K12's for a bit, but will eventually move over the inventory to more RCF products.
Do you work for a production company or do you get all of your own gigs? I’m trying to get some work in this field, I just purchased the X32 and have been trying to get some gigs. Any recommendations?
I'm a freelancer and get hired by production companies. I don't own my own console or PA, folks hire me to come run their stuff. What type of gigs are you wanting to get?
@@MichaelCurtisAudio I’d like to try to start picking up small events. Maybe school plays, dance competitions, corporate presentations, graduations. Eventually I’d like to do bands and things like that too. I also purchased 4 moving lights and a dimmer rack to do lighting work. I’ve been looking around but not having much luck finding local gigs. Not sure where to look for that stuff. I’ve been checking Upwork and Craigslist and Facebook. But not having tons of luck.
@@BryanLankston I'd go and find the production companies in your area and see how you can partner with them. Maybe they've outgrown some smaller gigs that you can take over? Or if it's a busy week for them you can subcontract for them and handle something?
@@MichaelCurtisAudio thanks for the suggestion! I reached out to some and am looking forward to seeing how that goes. Appreciate your expertise. I’ll defiantly be subscribing to your channel!
Those arrays look overkill for the size of the venue! Those subs don't play around if they were at -6db compared to the arrays.Well, Better to have too much sound than to little sound.
I had six total and they kept up plenty! I actually had my sub matrix shaded down -6dB compared to mains, and that's after my subs hitting my target curve where 63Hz is +15dB above 1kHz. They did great.
@@MichaelCurtisAudio nice! The cabinets could technically have been in limit even with the fader down -6db correct? Do they have the ability to network and see box status in real time?
@@jessecoonen7881 Not necessarily. It depends on the program material and the voltage of the 0dBFS output on the IO unit. And these boxes are not networkable in that regard.
For this gig I only brought my Pelican and backpack. The client hired avad3 Event Productions (who owns all this gear) to do the show, and they hired me to mix it.
I agree, but we made it work by subdividing and conquering. avad3, the production company I was working for on this gig, just ordered an A&H Avantis with an AHM-64 processor. Excited to put that one through its paces on their upcoming bigger shows!
Those are short names for "audio 1" and "audio 2", which refer to common positions on shows. The A1 mixes the show and is usually in charge of sound system design and tuning. The A2 supports the A1 and handles all comm, RF, and stage patching, and sometimes monitors.
@@frankgatsbybeats3999 Got it! Yes, we also use those terms, but on Corporate gigs there's usually not a monitor engineer (since there's usually not a band), so the A2 ends up handling all the other non-band related audio duties outside of mixing the gig and tuning the PA like comm, RF, etc.
I love that with all those speakers, you still use front fills. People argue with me all the time that they are useless because they don't go far and the bodies absorb the sound, but it really does fill out the sound closer to the stage, especially with silent stages. I find them helpful even on medium bar set-ups. They don't need to be loud to help.
You're totally right! I ended up having seven fills total on that stage.
Mike, you are a great teacher.... The quality and content of this video is OUTSTANDING...
Thank you for the kind words. More to come!
Hey Michael! I use an M32R on my shows. Pro tip on the tablet mixing: Get a Microsoft Surface tablet and run M32 Edit instead of the iPad app. It's a much more useful app that, as you likely know, gives you access to EVERYTHING on the console. With the Surface (or any other Windows tablet) you can use it for live mixing. I particularly love that it has two custom User fader banks; I set up my inputs, and usually one fader of stereo inputs and buses, an FX send fader, etc. It's not a perfect experience (for some reason it will sometimes call up the software keyboard on screens not having any text input), but it's a lot more flexible than the iPad app!
You have great equipment and great skill; the greatest thing that you have is your great attitude. You mention in your videos about being a team player, and we can actually see it in real-life situations. Refreshing. Thank you.
Thanks a ton, Walt. That's very kind of you to share. I'm glad my love for the craft comes across in these videos.
So very interesting Mike. You have the heart of a teacher. Thank you. I love doing audio but there is good amount of stress as well.
Thanks a ton, John!
Yes, yes, this! Great to see "on gig" stuff. I know often you don't have time to stop and do a video but this was great - nothing fancy but shows the setup, the where, and the why. Great stuff!
Thanks a ton, Mark! Getting to see the "classroom knowledge" in context is helpful. I hope to do more of those next year.
Am so blessed to be part of this journey, thanks always sharing your wealths of knowledge🙏🙏🙏🙏
You're very welcome!
WOW, you seem very calm in this video, and usually, this type of work is stressful especially when something does not go right! Great Job! I wish I knew more about audio I did an audio course at my school but it was just the basics of audio. Keep up this content as well!
Thanks, Damon!
Think anyone would be calm having a 2 day set up for a 1 day gig
Hello brother Michael really God bless you for what you doing really help me to learn
You're very welcome!
No surprise that your atttention to detail, excellence, and joyful spirit extend to this too.
Good to see you thriving in this field! Hope you’re still playing bass. Been a long time since jazz band at obu.
Hey, Ryan! Thanks for saying hey and I'm glad you've enjoyed my videos. Yes, I'm still playing the bass and I hope you're still rocking the bari sax.
Thank you Michael, I'd love to see more videos like this.
I'm planning to have more of these in 2023. Stay tuned!
Great Video! Was waiting for this video with high anticipation! As always, great explaining! Makes me drool a little looking at all the HDL6A's. I have 6 personally and am blown away with their clarity and power. To have 24 would be a blast to have control of that fader! Great video, keep them coming!
Thanks a ton, Dave! Yes, The HDL6A's really do deliver and were a perfect fit for this show.
This is so interesting. I love this stuff and I'd love to see more!
Just released this one today! - ruclips.net/video/dxRkSDY3fv0/видео.html&lc=Ugw3nvy_7UMdRq_9oQp4AaABAg
This was super dope to see I would love to be working and doing this everyday better yet to just learn how to run all that stuff!
Thanks a ton!
Love this Michael! Saw you posting photos from this and it looked amazing.
Thanks a ton, Richard!
Great video, Michael. I look forward to seeing more of these practical application videos as well.
Thanks, Phillip! Happy to be on your crew.
Really great walkthrough
I appreciate it!
Wow man outta the blue this video popped up. Great content I love this stuff! Thank you...
Thank you so much!
@@MichaelCurtisAudio 👍
Nice work man. I started my audio career in the live world, although it was back in the days of big analog consoles. Nevertheless, same basic idea, just more cabling and heavier amps and speakers.
Anyway, I think this video is great and will be an excellent resource for people looking to get into the biz. I woulda LOVED this video when I first started getting into audio.
Thanks a ton, Dave!
This is great thanks!
You got it, Roger.
yeeeeeeaaahhh ......i like this........👍👍 valuable lessons here
What as your biggest takeaway?
@@MichaelCurtisAudio planning and organisation is important for proper execution.
SOOO GOOD! Great job Michael!
Thanks for being a killer A2 on the AND a killer camera op for this video ; )
This is inspiring. Thanks for sharing.
You're very welcome!
Crisp...clean...and mean...SALUTE!!
Thanks!
Nice video guys...great job!
Hey, Ben! Thanks for checking the video out. Glad you enjoyed it.
Man I work literally right across the street! I wish I would've known you were there!
I've been meaning to contact you about some consultation for my churches new sanctuary (hopefully erecting this year) and possibly getting advice for our current speaker setup.
I'll likely be on the gig again in 2023! But yes, you can find my email on my website and reach out there, would love to talk.
Excellent stuff!
Thank you so much!
great content, keep it up
Thank you!
Really like seeing stuff like this. I recently came across your channel and content and am loving what you're putting out! I'm curious about your tuning setup. I saw in your other video I think that you were using all four measurement mics at one time. When you're doing this, how are you getting a ref signal back in? Loopback?
Thanks, Tyler. And yes, I'm using the built in Loopback in EVO 8 mixer software. I just select the Loopback output in the sig gen menu in SMAART.
@MichaelCurtisAudio at 7:43 theres a quick shot of what looks like second row laptop / monitor stands on poles or something. Totaly our of your domain but to you know naything about them?
Another great video Mike! 😊👍 Full of very useful stuff! How do you go about hanging the speakers exactly as is in the prediction software? Do you have a video on this perhaps?
Thank you! That's a great video idea. So, how I verifying the angles are right and such?
@@MichaelCurtisAudio exactly!😊👍
Love love love this stuff. SO interesting! Given the dimensions of the space, are you going to have to delay any of the FOH signals?
I did end up delaying the mains a bit to match the front fills, but not much other than that.
Fan of your videos here. Another great one. Nice job!
I Was wondering if you can speak to the limitations of the hdl-6a’s in comparison to some of the other models in the product line that are not a lot more in cost Like the 8”, 10” boxes for example Besides the obvious rdnet options. Im interested in the hdl line and i have heard some say the 6’s sound better than the 10’s and 20’s but then some have said the 6’s dont throw as far. Whats your take especially when used in larger out door applications?
I've never used the HDL-10's or 20's, so all I can speak for are the HDL6-A's, which I've used on probably 30 unique shows at this point.
I feel like I can get a hang of 12 HDL6-A's to comfortably throw 150ft or so, a hang of 9 about 120ft. This is all up to the trim height available and the SPL required, but these are "ballpark" numbers based of my experience. I end up mixing lower in SPL than most folks for music, so I can comfortably get a 91-94dBA SPL mix to sound great on the HDL6-A's as long as I have adequate sub support.
When it comes to "throw" the HDL6-A's experience a pretty steep dropoff above 4kHz or so when going beyond 120ft. Nothing a high shelf couldn't help fix, but you'd have to have separate drive lines to each group of boxes in your hang.
Awesome
Thank you!
Legend
Thanks, Josue! Hopefully I get to mix for you again soon.
the thumbnail made me think this with gotham chess but this was an interestinf vid
I've never heard of gotham chess : )
Hi maechel 👍
Just for a ideal condition,,
What type of sub placement and sub array ,you recommend for a venue ,,having long audience
By knowing that,we want 6db bass variance front to back,,and don't want any noticeable power alleys and valleys
And
There is no option to place sub at centre,,
,,
For ex-in movie theatre,,,high freq speakers are all around us ,,at different positions
Can we do anything similar with subs ?
And
Are you able to fly the subs?
Love it
Thanks, Douglas!
Nice info..
Thank you!
With all those HDLs I would have predicted better quality front fill to match. High end mixed with MI-level gear. Do you plan on upgrading the point source boxes?
It's not my gear to upgrade, it's what the production company owns. I think they'll be rolling with the K12's for a bit, but will eventually move over the inventory to more RCF products.
More of these.
You got it. We're about to have our 3rd kid so will be off shows for a bit, but will capture as much as I can in the field after that.
@@MichaelCurtisAudio Congrats on the new baby.
@@jthomaskay Thank you so much! We should meet him here in a few weeks.
How the big boys do it right!
Thanks, John!
That’s a lot of work
That's why they pay me the medium size dollars : )
I'll say yuure crazy.. Why all these just for a simple band.... This is interesting.. I'm even more enticed in sound production.... Bless you
Glad this has your wheels turning!
Would love to join you on a project. If you will be in Africa, let me knoe😊😅
Do you work for a production company or do you get all of your own gigs? I’m trying to get some work in this field, I just purchased the X32 and have been trying to get some gigs. Any recommendations?
I'm a freelancer and get hired by production companies. I don't own my own console or PA, folks hire me to come run their stuff.
What type of gigs are you wanting to get?
@@MichaelCurtisAudio I’d like to try to start picking up small events. Maybe school plays, dance competitions, corporate presentations, graduations. Eventually I’d like to do bands and things like that too. I also purchased 4 moving lights and a dimmer rack to do lighting work. I’ve been looking around but not having much luck finding local gigs. Not sure where to look for that stuff. I’ve been checking Upwork and Craigslist and Facebook. But not having tons of luck.
@@BryanLankston I'd go and find the production companies in your area and see how you can partner with them. Maybe they've outgrown some smaller gigs that you can take over? Or if it's a busy week for them you can subcontract for them and handle something?
@@MichaelCurtisAudio thanks for the suggestion! I reached out to some and am looking forward to seeing how that goes. Appreciate your expertise. I’ll defiantly be subscribing to your channel!
Big Like 👍
Thanks!
Those arrays look overkill for the size of the venue! Those subs don't play around if they were at -6db compared to the arrays.Well, Better to have too much sound than to little sound.
It was the right configuration for the gig. It's not just about total SPL capability, but about the array geometry to get the desired coverage shape.
KS118’s seem so little for the space and for the HDL’s. Did they have enough output to keep up?
I had six total and they kept up plenty! I actually had my sub matrix shaded down -6dB compared to mains, and that's after my subs hitting my target curve where 63Hz is +15dB above 1kHz. They did great.
@@MichaelCurtisAudio nice! The cabinets could technically have been in limit even with the fader down -6db correct? Do they have the ability to network and see box status in real time?
@@jessecoonen7881 Not necessarily. It depends on the program material and the voltage of the 0dBFS output on the IO unit. And these boxes are not networkable in that regard.
Great BTS content!
Thank you!
How much did you have to rent for this show?
Surely you don't personally own all of that stuff, right?
For this gig I only brought my Pelican and backpack. The client hired avad3 Event Productions (who owns all this gear) to do the show, and they hired me to mix it.
@@MichaelCurtisAudio Well, you still have to know a lot to hook it all together and get it working!👍
@@henryvanweeren7233 There's a few inputs and outputs on this one : )
What did/do you think of the GreenGo hardware?
I thought it was great! Our on-site engineer got it dialed in great and labelled well. Very, very clean audio, easy to use.
@@MichaelCurtisAudio It's some pretty fantastic stuff from what I've seen so far. I had some time to play with it a few weeks ago.
@@EricduToit Heck of a lot quieter than 2 wire RTS, I'll tell you that : ).
what rta mic are you using ??
I've got four iSemCon EMX-7150's.
Certainly a capable console but certainly not the one I'd spec for a show of that size.
I agree, but we made it work by subdividing and conquering. avad3, the production company I was working for on this gig, just ordered an A&H Avantis with an AHM-64 processor. Excited to put that one through its paces on their upcoming bigger shows!
What’s the size of Stage?
Close to 48ft x 48ft.
What is A1 and A2?
Those are short names for "audio 1" and "audio 2", which refer to common positions on shows.
The A1 mixes the show and is usually in charge of sound system design and tuning. The A2 supports the A1 and handles all comm, RF, and stage patching, and sometimes monitors.
@@MichaelCurtisAudio Oh ok, thanks for the explanation! Here in Europe we call it FOH (Front of house) and Monitors
@@frankgatsbybeats3999 Got it! Yes, we also use those terms, but on Corporate gigs there's usually not a monitor engineer (since there's usually not a band), so the A2 ends up handling all the other non-band related audio duties outside of mixing the gig and tuning the PA like comm, RF, etc.
What’s the work of the DL32?
The two DL32's are the stage boxes that capture inputs from the bands, wireless, podium mic, etc., and dish out outputs to monitors and PA speakers.
@@MichaelCurtisAudio thank you Michael!!