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[Heath Eldridge]

My PA:

Console/rack
- Allen and Heath QUpac with airport express router
- 2 x Sennheiser ew100 with e945 head
- 2 stereo Sennheiser ew300 in ear transmitters

Thoughts:
- couldn’t be happier with the QUpac
- the Sennheiser wireless, I don’t love. They seem to sound harsh on a lot of male singers. I’m wondering whether an e835 head would be better
- the in ears are great. I use these with 4 transmitter packs to get up to 4 channels of mono in ears. I don’t think I’ve ever used all 4 at once.

I also have a QU SB which is my back up mixer (never needed it touch wood)

My wired mics are Sennheiser for instruments (e901, e902, e904 and e906) as well as a few SM57s, then beta 58s and SM58s for vox.

My speakers are all RCF:
- 2 x TT22a mk 2
- 4 x Sub 705as mk 2
- 6 x art 310a (combination of mk 3 and 4)

The average gig I use 2 of the subs and the TTs. If I need more I bring a second pair of subs and sometimes I use a pair of 310 for FOH.

Lighting:
- my basic option is a pair of Chauvet gig bars. The further I go the more tempted I am to just use these although I wish Chauvet would bring out a similar product with more pro level components.

- my more complex option involves Chauvet Q12s, T6s, some pixel strip lights and some cheap movers, controlled off Luminair on iPad. I’m not fully happy with this but haven’t been able to work out how to step forward. I started out with 8 old school par cans that I just “turned on” and I’ve moved along to what I have now with no real lighting expertise.

I do sound for cover bands and tribute acts as well as the odd random thing. I have all the work I can reasonably do.

I transport it in a 6x4 trailer although I often carry the 1 pair of subs option in the back of my SUV.

[Scott Holtzman]

Bingo.  And from a simplicity standpoint, having more of identically the same is usually better than a variety of similar.  Eg, you could have a variety of brand or line of speakers that are slightly different, or you could just get a whole bunch that might be overkill for some smaller jobs, but then you don't need separate inventory.  You could have a few lines of wireless mics, but if you need to put them all together for a big show, that becomes more difficult, etc.


As far as what I run for primary rig:

10 space amp racks that contain power distro, 3 iTech 5000 HDs an X32 rack an airport express, and a 16 port POE switch.  I have multiple identical of these.  One unit can cover most shows. 2 or more can be rolled in for the bigger events.

For speakers, I use the JBL SRX 700 line.  Lots of 712m because, well, they are small and light weight, and awesome.  718's and 728s for subs. Can be used interchangeably, depending on what is easier to load for the particular event.  722f for tops.  Great boxes that cover the size of events that I primarily do.  715's for the random satellite speakers needed.  More of the iTech 5000HDs in 2U racks for drop in place amps.

Mixers are all X32. Racks, compacts, full size.  The price point and flexibility when I got into it was the deciding factor. I've tried to like the X-air, but can't stand the interface, so got rid of all of those.  Now I have more X32 racks in 3U boxes ready to go.  Slightly larger, but packs easier in the truck and can be used with the others in the system no problem.

Mics - Shure QLX-D.  These have been hands down the most worry free mics I've ever had.  All are the same, so I can go with a single unit, or multiple units, no problem.  Systems are in the same 3U racks that the X32s use, so stacking together a rig is pretty painless.

Transportation: Chevy volt.  That carries me around. When I do a show, I rent a truck.  At $30/day, it's way cheaper to rent than to own for the number of shows I do.

You use the amps processing?

Sent from my LM-V405 using Tapatalk

[Rob Spence]

Small festivals, weddings, corporate & backyard parties with the occasional fun bar gig.

Mixers: A&H GLD80, SQx5, SQ-6, Yamaha LS9-32, Mackie 1402 , AR2412, AR804, AB168

Mains: EV QRX212 (4) ZXa5, Yamaha DXR10, QSC KW181 (4), TH118 (2). One TH118 has a 4000w plate amp in it and also powers the passive one.

Mons: Wizard Sound 12” coaxial ( 8 ), JBL MRX512 (4)

Mics: Shure ULX wireless. 10 channels. Mostly SM58 elements with a few belt packs, headsets & lags.
Wired mics include SM58, SM57, SM86, SM87, & VP88. Lots of Heil mics mostly used on drums or instruments. PR30, PR31BW, PR35, PR22 and the drum kit. Some Senn 865 and AKGs.

Some lights. Mostly LED.

I love the EV QRX rig with the TH118s. It sounds amazing and covers the biggest gigs we do.
The ZXa5s over the KW181s is a good wedding reception dance rig.

I would like another pair of DXR10s. The LS9 is for sale.

Update Aug, 22 - bought an SQ-6
 

[MattLeonard]

I found this a useful thread, so I'll add my $0.02. 15+ years ago I worked for larger regional/national providers and toured rock and roll (from clubs to  theaters, arenas and amphitheaters) - but now I  mostly do production management for larger events, and just do audio very part-time for small events - community fairs, rallies, press conferences, dance/theater, weddings etc.  I am built around everything being setup/lifted by 1 person, and with my personal daily driver (Subaru Outback) being able to handle 90% of what I do.

Here's my setup, with some thinking on each.

PA:

- 2x db technology ig4t's (I used to have 4, had a theft, now awaiting supply chain delays for another pair)
- 2x Yamaha DXS15xlf (also awaiting a 2nd pair)
- 2x Yamaha DZR10
- 2x QSC K10.2
- Various battery-powered bluetooth speakers (mostly Thomann The Box series)
- Ultimate / Gator air-assist stands and poles.

All powered boxes, with weight/size being a key factor.  Everything has a soft bag (the Yamaha bags are great - never need to take them off!), no road cases due to weight/transport. I can fit a pair of tops/subs in my Subaru along with an EZ up, table, cables, control, along with a pair of monitors or fills. I have a hitch for a small u-haul style trailer if I need to fit more, or the occasional van rental. No justification in owning a bigger vehicle than my daily driver.

The ig4t's over the DXS15 subs (especially once I have 4 of each again) will cover considerable ground for the vocal-heavy events I do. Stacks or splayed - they are great boxes with incredible clarity - especially for the size/weight. The DZR's are great over the DXS subs too, and can go out on their own for small events. The K10.2's or battery-powered speakers are usually what I send with someone if I'm not operating - and can be run without a mixer for small events (2x mics + laptop/phone for tunes). I often have satellites - delays, outfills so onboard DSP keeps things fast and easy.

CONTROL

- XR18
- Soundcraft Signature 10
- Allen & Heath Zed10FX
- Driverack PA2
- Alto Stealth Pro receiver/transmitter
- Likely picking up an SQ5 or M32r in the next few months

Either road cases or Pelicans for everything. I use the analog desks most often - lots of small-input gigs and the DSP on the boxes gives good control - the Driverack doesn't get used much. I'd much prefer the SQ5, but the M32r will do everything I actually need it to do and is much cheaper and more available.

The Alto Stealth unit is great for setting some delays or outfills - reliable 200-300' range (with line of sight and getting antennas above heads). I think they only go to 50hz - but that's fine for a pair of powered boxes in the outfield. Pai this with one of my battery rigs (below) - a tripod stand with a twofer bracket for pair of speakers - all wireless and no trip hazards/cables runs?  Super handy and used often.

INPUTS:
- 3x Sennheiser EW300 G3 wireless (HH, headset, and lavs for each)
- Diversity Fin Antennas  (but just a passive combiner for 2 receivers)
- Sennheiser drum mics (604, 602 etc)
- 57's, 58's, and beta 57/58's galore
- Shure CVG12 Gooseneck for lectern
- Radial DI's - various
- Laptop, Ipad Pro (Q-lab for playback)
- K&M mic tripod stands (buy once, cry once)

I use the RF mics almost all the time -  its just faster and cleaner than running cables, dealing with trip hazards etc. Sure, newer tech exists but these have been reliable units that sound good, and no need to replace them. At some point I'll likely pick up a Shure ULXD4Q - nice to have 4 channels in a compact unit without the need for a combiner. I don't do a lot of full bands, just occasional instruments alongside playback & vocals.

POWER
As mentioned, almost all my outdoor gigs are off-grid, and I have various battery/inverter rigs = no gas/diesel gennies for me (other than when I'm PM'ing larger events and hiring a proper audio company). I've posted on this before with more detail and examples - but modern Class D amps sip power, and if you actually meter your power draw most people are surprised. Especially for vocal-heavy events that aren't thumping bass for 4 hours straight. I ran a pair of K10.2's (plus analog mixer, 2x wireless mics, laptop etc) for a 5-hour rally/press conference the other day - never seeing more than 350w peak, and using a total of about 600wh over the entire time.

- 2x Blueetti AC200max (2,200 watts continuous, ~2,000wh)
- 2x Bluetti B230 expansion batteries (~2,000wh each)
- 1x Inergy Kodiak (1500w continuous, ~1500 wh)
- DIY rig w/ 24v 5,000w continuous inverter, 7,500wh of lithium batteries (Lion UT1300's - a pair in series in a milk crate with Anderson connectors for modularity to stack the pairs in parallel)
- Various solar charge controllers and solar panels.
- SJOOW (and some SOOW) 12/3 cables - all homemade.
- Various OA Windsor Quad boxes - homemade

All these are small, portable, and 1-person lifts. I can easily run a pair of subs/tops for most events for ~5-12 hours depending on the program - off a single AC200max and B230. I can add more batteries for longer events. I can use multiple inverters (on different parts of the system) if I really needed more available amperage. And I'll often bring a couple solar panels along to put a little juice back in the system throughout the day - but mostly because it gets people asking questions and draws interest. "Is that really running on solar? Yes it is!"

MISC:
- 6' x 6'  Quicklock stage (4x 3' x 3' decks) w/ adjustable legs, skirt. Enough for small press conferences or a riser - I'll likely grab 2 more decks to do 9' x 9' - but anything bigger and I'll hire out for it. Don't want to deal with transport, storage etc. Again - 1 person setup and transport - easier than the 4' x 4' units.

- Various Pelican cases
- DeWalt ToughSystem 2.0 cases for cables, miscs, DI's - these are much better than the 1.0 version, cheaper than Milwaukee Packout.
- Lots of Husky tool bags - for smaller gigs it's an easy pack for XLR, power, cables, mics etc.

- I'm a big fan of Siamese XLR/power cables for speed and clean looks. Swapping the IEC outlets on the ProCo/Whirlwind dual-XLR siamese cables with Edison ends makes things very handy (likely not following NEC, but being off-grid has some grey areas here).

- Even the cheap ADJ/Lase siamese cables have been handy and not given me any problems yet - great to have some 6-10''s going up speaker stands for a clean look.

[Lance Hallmark]

Does anyone want to share:
- what sound gear (speakers/mixer/mics/etc.) they are currently using
- why they went with that particular gear
- the application (type of live music only, please   instruments, etc.)
- how you transport it
- and, most of all, what you think of it....
I'm not particularly looking for a list at an installed-gig such as the House of Blues in Boston, but more so portable (I know that "portable" is a relative term) systems that local sound providers/bands are currently using regularly....

Have 3 working systems:
Danley
4 TH-118 subs & 2 SH69 tops
1 DNA 20k4 amp
1 QSC Touchmix 16 Mixing board

JTR
2 Orbit Shifter subs
2 Noesis 3TX tops
1 Powersoft K10
1 Crown XTI6002
1 QSC Touchmix 16

Yorkville/Yamaha (Active)
4 LS801 subs
2 DSR112 tops

Monitors, fill speakers
4 EV ZLX15 tops
2 Yamaha DXR15 tops

LIghting
50 ft of F34 Truss
Chauvet Intimidator 260s
Numerous off-brand lighting - Strobes, Bee Eyes, R17 Wash/Beam/Spot Hybrids, Sharpy Clones. washes
Chamsys MQ40 Lighting Console
30 Battery powered wireless dmx uplights
2 3 watt lasers
3 1 watt lasers

My goal has always been to have our own venue of some sort and much of the equipment was purchased for that intent. After an initial deal for a venue fell through, then a layoff from my 22 year day job I decided to just move forward with Djing/Events & production.
Most of my gigs tend to be in the Electronic music genre, although I usually do 10-15 band gigs of some sort in a year.
I have a Yukon XL, a 15 ft dual axle trailer and a 8 ft trailer.
Business wise I do OK, I'm too small to get many of the juicy, high paying corporate gigs combined with the generally low gig rates that exist here in Florida. It's also harder to bring in extra people when the rate is lower so I end up doing a lot of labor solo or with minimal help.
I am very passionate about music and that it is heard and experienced the way it should be and have always been willing to put my money where my mouth is (or ears). All of my sound systems sound very good for what they are and can cover multiple budget constraints. Lighting is always improving as my programming skills and understanding of workflow get better with every gig.
Hope this was helpful in some way
Lance

[Kwadwo Caesar]

Does anyone want to share:
- what sound gear (speakers/mixer/mics/etc.) they are currently using
- why they went with that particular gear
- the application (type of live music only, please   instruments, etc.)
- how you transport it
- and, most of all, what you think of it....
I'm not particularly looking for a list at an installed-gig such as the House of Blues in Boston, but more so portable (I know that "portable" is a relative term) systems that local sound providers/bands are currently using regularly....

PA
Mixers: Yamaha MG16xu, Behringer XR18, X32 Rack
Speakers: EV ELX200-10P, ELX200-12SP subs, ELX112P, EKX18P, dB Technologies ES802

Everything I need for the size of events I do (mostly main PA for bands in restaurants/pubs/private parties) fits in a Toyota RAV4 with the rear seats down.

[Rob Stevens]

My basic set up is:
X32R Mixer
2 Turbosound IQ12
2 Turbosound IQ15B
5 Turbosound IQ10B

I chose this set up as I kept seeing X32s in use so it seemed this was a good standard unit that quite a few colleages of mine owned, so they would be able to jump on my system easily.

I mix live bands in Bars, and small events (outdoors/indoors)

I recently purchased a Kia Carnival Minivan.

I am generally happy with this set up though with this mixer being 10 year old technology I am thinking to the future of updating this set up, both from a point of view of where is the technology going on mixers as well as I would like a step in overall system quality, not because this system doesnt sound good, but I just think thats my nature.

[Nathanael Iversen]

I run two systems.  The “small” system is (2) Fulcrum Acoustics FA22ac’s over (2) BassBoss SSP-218s. Those are powered speakers. The sound quality is objectively excellent. The “big” system is a pair of Danley J-7’s and (4) Bc-215 subs powered by Danley 20k amps. The sound quality is objectively excellent and a whole lot louder than the small system. The larger system is for my Stageline SL100 stage and is capable of anything the stage is capable of supporting.

Mixers are A&H SQ-5 (two 16-ch IO + Dante) and an SSL Live 200 (48ch SSL IO). The SQ-5 becomes monitor console when I roll the L200. The monitor workflow on the SQ5 is wonderful. The L200 is a joy to work on.  Paired with the Danley rig, it is a whole lot of aural delight.

For monitors, I’ve got a dozen of the new Yamaha 12” coax wedges and a LabGruppen 10Q and a Danley 20k that I use to power them. I have 7 of the Focusrite Dante headphone boxes for IEM. No wireless yet - that’s next.

Lots of live mics. Stands. Much cable and cases of all kinds. Chain hoists.  Full back line. SMAART.  A stageful of Chauvet Professional non-moving lights. A Honda 3k and a trailer-mounted Whisperwatt 15k for generators.  Whirlwind Power distros. 30’ cargo trailer, and an F-350 dually to tow it or the stage.

It was all selected for maximum sound quality and fully delivers. I wanted effortless sound that just “appears”. Headroom and vanishingly low distortion were conscious targets. Coaxial drivers and point source coherency. Live bands. Primarily contemporary worship, multi-church events.  I wanted flat to 32HZ, and solid response to 28Hz and have it in both systems.  In typical use, the systems are unstressed, crystal clear, operate and deliver exactly as designed, and I am thrilled. The level of transparency, transient response, frequency extension and lack of mid bass distortion are notable on these rigs.  For a few hundred to 2,000 people I can deliver truly excellent audio, starting with an empty field.  I’ll add more BC-215s, wireless and additional Danley gear for flexibility over time, but the base capability is strong, and a dream come true.

[Doug Fowler]

Nice rig!

Can you compare SSP218 to BC415 or BC215?  There is precious little field experience availabile online with the BASSBOSS subs. 

I run two systems.  The “small” system is (2) Fulcrum Acoustics FA22ac’s over (2) BassBoss SSP-218s. Those are powered speakers. The sound quality is objectively excellent. The “big” system is a pair of Danley J-7’s and (4) Bc-215 subs powered by Danley 20k amps. The sound quality is objectively excellent and a whole lot louder than the small system. The larger system is for my Stageline SL100 stage and is capable of anything the stage is capable of supporting.

Mixers are A&H SQ-5 (two 16-ch IO + Dante) and an SSL Live 200 (48ch SSL IO). The SQ-5 becomes monitor console when I roll the L200. The monitor workflow on the SQ5 is wonderful. The L200 is a joy to work on.  Paired with the Danley rig, it is a whole lot of aural delight.

For monitors, I’ve got a dozen of the new Yamaha 12” coax wedges and a LabGruppen 10Q and a Danley 20k that I use to power them. I have 7 of the Focusrite Dante headphone boxes for IEM. No wireless yet - that’s next.

Lots of live mics. Stands. Much cable and cases of all kinds. Chain hoists.  Full back line. SMAART.  A stageful of Chauvet Professional non-moving lights. A Honda 3k and a trailer-mounted Whisperwatt 15k for generators.  Whirlwind Power distros. 30’ cargo trailer, and an F-350 dually to tow it or the stage.

It was all selected for maximum sound quality and fully delivers. I wanted effortless sound that just “appears”. Headroom and vanishingly low distortion were conscious targets. Coaxial drivers and point source coherency. Live bands. Primarily contemporary worship, multi-church events.  I wanted flat to 32HZ, and solid response to 28Hz and have it in both systems.  In typical use, the systems are unstressed, crystal clear, operate and deliver exactly as designed, and I am thrilled. The level of transparency, transient response, frequency extension and lack of mid bass distortion are notable on these rigs.  For a few hundred to 2,000 people I can deliver truly excellent audio, starting with an empty field.  I’ll add more BC-215s, wireless and additional Danley gear for flexibility over time, but the base capability is strong, and a dream come true.

[Nathanael Iversen]

Nice rig!

Can you compare SSP218 to BC415 or BC215?  There is precious little field experience availabile online with the BASSBOSS subs.

The SSP-218s have a simple formula… a pair of B&C long throw 18’s, a 4000W DSP plate amp, and a novel limiter circuit that I think uses light bulbs to bleed off excess power. Because it’s all self contained, exact efficiency specs aren’t available. There is a level control on the back. And a crossover control (80-100Hz) - I leave it at 80HZ and use the FA22ac DSP preset for 80Hz.   The level control set at noon to 1 o’clock is what keeps up with the FA22ac tops. Set higher, there’s more sub than the tops can keep up with.  With the Fulcrums ~4dB from the limiters on pre-recorded DJ tracks, the whole system runs on a single 15A circuit. It blew once in 45 min of testing. At this level, the subs move clothes at 10’. Being within 10’ is ridiculous. The sound back 50’ is studio grade sound. So, so good.  I’ve never run them as hard as I’ve tested them… that effortless headroom thing. I think their main market is DJ’s, and they set up the DSP and their limiter circuit to be bombproof. Basically you can’t damage them running hot signals in.  But they deliver the flat, extended bass the spec sheet promises. Like Danley, they aren’t cheating.  The boxes deliver what the specs say. Outdoors, no walls to help. The DSP is “hidden”. It’s in there, but there’s no accessing it. The controls  are just crossover and level. Again, I think for target market, simplicity and bulletproof are the operative words. For me, I knew they’d outrun the tops with headroom to spare, which meant low distortion.  They are built with solid drivers, have real-world, honest spec sheets, and deliver what they say on the tin. They hit hard and deliver down to 28Hz.  Outdoors. I’d happily recommend them over SRX subs.

The Danley rig is brand new. I’ve done one theater gig indoors so far, and it was glorious. I have not had the subs side by side for testing yet. The BC215s are meant to deploy in pairs, and done that way, put out significantly more on paper. In Danley-land, I have about half the subs needed to keep up with the J7’s full out if hard core EDM or metal were on the program. The J7s are monstrously loud if pushed…. But I know I’ve got plenty to do 1500 people off my stage. So, there’s already headroom.  I thought about just getting more SSP-218s, but decided to get fewer boxes, and go passive, since I needed amps anyway for the J7s. Thought about TH118XLs, but decided on four boxes of BC-215 vs 8 of the XL. Output is similar, and I already have the SSP-218s for smaller gigs. So the extra modularity of more smaller boxes wasn’t a factor. I’ll get around to the side by side eventually, but no one would complain about either choice.

[ProSoundWeb Community]