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 on: Today at 11:30:11 pm 
Started by Jeff Lelko - Last post by Mike Caldwell
I have no clue what the deployment issues could be but maybe think of a system with delay fills. The fill could get just a mix of the MC mic and maybe some low level music program. That way people along the back can still the announcements with out the need of the main PA needing to throw the full distance.
Wireless audio feeds to powered fill speakers maybe something to look at.

The main PA at the stage would also have the MC mic in it as well.

Make your new PA scalable and not just a one trick pony.

 on: Today at 11:13:49 pm 
Started by Mal Brown - Last post by Mike Caldwell
My UI-16 works fine, just used it for a three day event where it was the perfect fit in what I needed it do. Yes you do need to run it with an external router or access point. I just put a UI-24 in an installation and 24 does take the UI series up few notches. The built in WIFI if much better.

As for the mention of Allen Heath Qu app being terrible, everyone who has mixed on my Qu Pac32 system with in minutes has commented how much better they like the Qu app over the X32 app and all coming from people who have never used the QU app before.

Had the same basic comments recently about from a band who likes to mix their in ear mixes each with a personal monitor mix app if one is available on the system. Within five minutes that had all downloaded the QU-You app and after a quick lesson on the app they were tending to their own mixes.

 on: Today at 10:49:59 pm 
Started by Jeff Lelko - Last post by Tony Stubbs
You don't need anything special!  I have done many gigs at this venue (Cocoa Village).  Where you are setting your console is in the fountain, (hope they dont turn it on) LOL anyway being that its a concrete stage roughly 3 feet high set your subs and tops on the stage, that will give you  some help opposed to setting them on the ground.  I have run two TX9s and 3 QRX 153/75s a side and have measured 95db at the river. Don't count on the roof protecting your gear during a rainstorm, its too high and only covers part of the stage. Unless they have changed it. there use to be a 200amp cam lok set at the bottom of the panel on the southwest column. Load in is from the alley and again unless they have made changes you could drive truck and trailer right up on the stage for loadin and out.  The wind can become an issue here when storms roll in, off the river, so strap your tops to your subs. and other gear down, If you need additional help just ask.

Hi all,

So similar to the thread I just started about looking for mixer suggestions, I’m also trying to size a sound system for eventual purchase and use within my company.  I want to make it clear right away that this purchase is likely 1-3 years out, but I’d like to get a rough idea of what’s needed (and what it’ll cost) right now so that I can allocate funding appropriately over the next few years to make it all happen (both a new mixer and new speakers).  As mentioned in my mixer thread, the majority of my work is corporate and municipal in nature, so mostly vocal with some filler music, usually crowds in the neighborhood of 1000 people.  Up until now I’ve gotten by just fine with my QSC HPR rig and it continues to work flawlessly.  That said, more times than not I’m pushing the system to its limit with some of these larger outdoor events. 

Below is a picture of the venue I’d like to size this rig to.  I’m able to maintain SPLs here in the 90-95dBA range measured about 75ft back from the stage, but that’s just with music playback.  My clients are happy with the rig’s performance but I’d like to have more headroom to accommodate a larger dynamic range when working with live acts.  To those playing jobs at this level and higher, what would you bring to serve an event here, assuming a crowd in the 1-3000 range and a live band?  How would you change that rig (if at all) for a speech-only event?

Beyond the vague description above, I don’t have any hard “requirements” for the system.  It does need to “look” professional as my jobs are most corporate in nature.  Vocal intelligibility is a must.  Ideally nothing massive, but I understand that this comes with the territory.  Movable by two people would be nice – movable by one person would be excellent.  This stage in particular has 400A service, so power isn’t an issue but still the more efficient the better.  I don’t want to specify a budget – I’m more interested in what it would take to do these types of jobs correctly here and go from there.  Given that my QSC rig is “good enough” for every client I’ve worked with so far at this location (and honestly I always get compliments on the sound quality despite the rig running almost full-open), am I maybe overthinking it?  Would a Danley SM80/TH118 rig be plenty?  I also know both JTR and RCF make some applicable products.  I’m also quite interested in the Danley Exodus Series, though haven’t seen nor requested any specs yet.  For full disclosure as well, I still have the most to learn with sound when compared to other areas of the industry such as lighting and pyro, so any discussion and guidance would also be appreciated in addition to recommendations for equipment.  The reason for this purchase would be to both replace an aging system (9 years and counting) as well as to expand the upper end of the jobs I can play.  Really just looking to determine what my needs truly are, how much it would cost if sized within reason, and a short list of systems to audition/demo over the next year or so. 

Thanks again for the help!

 on: Today at 09:20:19 pm 
Started by Fraser Moffatt - Last post by Rick Powell
We started out with me owning the sound equipment but willing to give everyone a break if they pitched in. When that arrangement didn’t work out, my son and I went to a “sound provider” model where we were paid for our services off the top. The guys were always pretty good with organization and not goofing off during sound check, but it goes so smoothly now that we can go onstage cold with a saved main/monitor mix and be 85% there (but usually try to do an instrument check and then tweak out the monitors with half a song). We are 3/5 in ears and 2/5 floor wedges. I dunno, our stage mix rarely changes unless there’s some weird indoor frequency happening. I know that Jay and others run their band without taking an extra cut, but in our case it seems to work that if the band is paying for a “service” they sorta respect the process more and do their part to make it work.

 on: Today at 09:15:43 pm 
Started by John Chiara - Last post by Tim Weaver
They said...
"We are not offering a trade-in program on 600-band wireless systems and IEMs.  We ceased distributing 600-band wireless in 2014 and 600-band IEMs in 2015 due to the anticipated FCC changes.  Anything out there now is well over a year old and past MIPRO's 1-year Warranty at this point."
So no deals. I have 5 units that will be worthless. Any overseas markets for these?

I have a small pile of it too.

 on: Today at 09:15:28 pm 
Started by John Roll - Last post by Bob Leonard
At the least, the mids and HF need to be ABOVE head level of your tallest audience.


 on: Today at 09:13:59 pm 
Started by Fraser Moffatt - Last post by Bob Leonard
Have the band play a song and get the stage levels right first. Then vocals, drums, bass, guitar, everything else through FOH. Easy as pie. Then if someone won't cooperate skip over them and go to the next instrument. That will immediately take the pressure off of you and the rest of the band will fix the problem child for you. If you can't get them in then let them suck for a set. They'll get the message. Yelling won't help, nice guy won't help, but professional always helps.

So it goes like this. Vocals your up, drums, your up. Bass your up. Where's bass? OK, guitars your up. Then bass can wait until everyone else is done. Works every time.

 on: Today at 09:05:20 pm 
Started by Mal Brown - Last post by Bob Leonard
I own a UI16 and when I bought it I upgraded to the latest firmware. All of the issues people talk about have been resolved. Good sound, easy to use, no distortion problems, no WIFI problems, no problems, period.

 on: Today at 09:02:01 pm 
Started by Jeff Lelko - Last post by Bob Leonard
That looks like one of those "I'm doing a favor for my friend" type gigs. The ones with the good food, fun times, nice band, and great people. You know, the "freebee" you don't mind doing once or twice during the summer.

The real point is the flexibility of the modern small format mixer. Imagine that. From a day when it took 4 people and 6 roadies to carry front of house for a 1000 water bag gig, down to one (1) person, no external rack gear, and more expansion capability than almost any analog board in the day.

 on: Today at 08:50:56 pm 
Started by Fraser Moffatt - Last post by Jay Marr
Thanks for the feedback guys.

Yes, the crux of the problem is a social/lack of professionalism one as opposed to a technical one. I've "alpha'd-up" on them more often than not - to the point of little generalissimo stuff.  I hate doing that. I've "laid down the law", I've attempted coaching the guys through the process, I've provided some good learning material (just watch the frickin' 5 minute youtube), yet nothing seems to make a difference that persists.

I started providing PA and doing sound for this outfit for a couple of reasons - I've blown my voice and hearing out by using a substandard PA with a loud band for too long with these guys. We were limited in our gigs with that POS PA.  I had the money to sink into this as well, plus the interest.

Admittedly, I take this all on myself. I own the gear, I transport and set it all up. I prefer that everyone stay out of my way while I'm doing that. I told the guys I don't want any compensation to do this. My choice. The often throw me 20% of the take for my services, but I don't expect it (and at this point, the gear has paid for itself). Perhaps me doing it this way reduces their sense of ownership and engagement in the process? I think that's part of it, but then there's the basic stagecraft stuff that seems to elude one or two of the guys at times. Frustrating.  I literally have to tell the guys to play the way they would at the peak of the set, not like they're sitting in their granny's living room singing lullabies. And then I'm the one who gets the looks when I push the faders up into feedback territory. Yargh!  The there's simple stuff like cable management on the stage. I hate the spiderweb of cables laying all over the place. Tuning the guitar without muting. Basic stuff. There's some interesting interpersonal dynamics as well. Guitar and drums are brothers and they argue and fight like brothers. Hard to get in between that dynamic.

I know that at this point I'll have a really hard time attempting to change anyone's behaviour - especially the guitar player -  so I have limited options. My leverage exists in the form of me withdrawing my services and/or my equipment. I really don't want to do this gig with anyone else's equipment at this point so I guess I'm left with withdrawing my services...or at least threatening to do so. At this point, I'd sacrifice a small share of the take for a decent sound guy.

BUT, I really don't think I should have to play that card. Even though it sounds like a shit-show, I can get the job done in one or two songs but it's usually high tension and a buzzkill for me since it's the small irritants and the unprofessional, but repetitive, behaviour that gets in the way.

I see a couple of different processes described here that I'll try. If these fail and I still need to say "Hey Guitarist, stop the noodling so I can soundcheck the drums. Your turn will come soon enough", I think I'll have to withdraw my services.

Man, reading this back makes me wonder why I'm doing this at all! Pretty decent musicians and singers, a great setlist and some very good gigs...that's why!

I have the same gig in my band.  I'm lead vocal/guitar and sound guy.
I also provide the PA.

My guys do not f*ck around during sound check.  We have a system that I have outlined (by alpha-ing up).
1) Kick, Snare, Toms, Sampler, Full Kit
2) Bass
3) Guitars (just to match our volumes).
4) Vocals
5) 20 seconds of full band playing Hard To Handle (because it starts with drums, then guitar bass, then vocals).

We are done sound checking in less than 5 minutes (usually less than 3).

It helps that our mix is dialed in nicely on a X32 Rack (all guitars and bass are direct).

If my guys ever do f*ck around, they are met with a quick bit of me speaking to them in their monitor, usually comparing them to a sh*tty musician that we all know.
Something like - "hey, if I wanted (crappy local musician XX) in the band, I would have hired him". 
The other guys usually laugh (which embarrasses the person), and they stop.  Behavior change in motion.
Do they respect me for it, or hate me for it...?  Don't know, don't care.
I'm too old to deal with unprofessional players. (I'm 43 and a weekend warrior as well)

I'm a firm believer (especially with bands), people will push you as far as you will let them.  So I don't let them.

Not the same topic, but I've had gigs where someone gets WAY too drunk to perform and act professional.
When it has happened, I'll have a band meeting the next day and say: 
"I would never tell any of you how to live your life, or when you should or should not drink.  But I am saying...if you are looking to do that, then please find a new band.  This band does not operate that way.  It's a business, and none of you get drunk at your day job.  If you did, you wouldn't have one.  No hard feelings if this is not the right band for you."

My point is....Rules have to be set.  It may push some guys out the door when you lay down the law.  But after all of these early bumps in the road, my band is a well oiled machine, we have lots of fun, and we rarely have any conflict because everyone knows what is expected.

I suggest a band meeting to sit down and discuss, because talking about it at a gig is useless.
And at the meeting, take notes, and email them out to everyone the next day.

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