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[Matthew Knischewsky]

I would spend money on an awesome mixer and IEM package, but leave the PA up to a contractor.

That would be my advice as well. If I was in the position of having to start from almost scratch and scale up for a tour I would look at partnering with a vendor that will either rent you gear or work directly with the artist. There's a lot more to heading out on a tour than owning the equipment! The gear is only about 50% of the initial cost of ownership... the rest is cables, cases, distribution, and a whole host of other items that are not typically billable line items.

There are a number of details left out of the OP's initial posts, like who's responsible for the transportation, storage, rigging, power distribution just to name a few. Insurance. Is the OP responsible only for the FOH or monitors too? What about crew, setting up/striking the small 3000 capacity rig AND mixing would be more than one person can do every day on tour... Someone has to be the SE to direct the local crew.

What happens to the gear if the tour never scales up to the 10,000 capacity venues? What happens in case of an accident with the truck? So many "what if's" that are difficult to deal with as a small provider when those situations occur. When something happens, large or small, it's always helpful to have a support system in place.

The OP's situation resonates with me because I'm essentially out of live sound reinforcement as well. I have a good job in AV though I still take the occasional call with the local company to mix or SE during their busy periods, usually the summer outdoor season as well as I still mix for a few local events that I enjoy. I've owned my own gear at times as well, scaling up or down my operation as opportunity presents itself. I don't mind the AV work though it's not my passion, but the time commitment required for sound reinforcement work isn't something I can do full time right now. If someone called me up with a dream gig I certainly would be tempted but at the same time I would wonder what else is going on in this organization that they would be reaching out almost a year later. I'm not in the OP's shoes but if it were me I'd be thinking something smells fishy.

This is written as someone who did a couple of years in a van with an indie rock band with good songs that didn't go anywhere, a few years on gruelling arena tours and insane one-offs for a circus show that didn't scale up as the promoter promised, mixing monitors and supplying production for an annual holiday show for a truly wonderful family and their band but a key member passed away and the show ended, being booked on a tour that was cancelled last minute and the production company was left on the hook for all of the preproduction costs causing a chain reaction almost bankrupting the company, half the staff laid off, at least one marriage ended, years of hardship after. Currently as of the past week I'm processing the news that a long term 14 year client's organization faces an uncertain future due to circumstances that are outside of their control. Call me risk adverse, but I'm glad for my own sake that I don't own anything that's solely dependant on their shows continuing: Staging, lighting, PA, monitors, consoles, snakes etc. are all rented as necessary.

Re-reading this I must sound very jaded... I had some really good gigs and experiences on most of those shows! And managed to make a living on it too.

My point is that all gigs end, and some of them end before they even really get started. Don't put yourself into a risky situation that seems too good to be true.

[Luke Geis]

All good and valid suggestions. I wish I could say what the ultimate plan is for the gear? I have had some conversation, and it appears that there is an end market for the gear, so purchasing is ideal because they already know where it will go. I spoke again briefly, and it was mentioned that there was a relationship with JBL and if I was open to that. In the end I was told to ask for whatever I wanted. The trust is definitely there, which I appreciate, making me want to be even more open to options.

My idea of 3000-6000 seat venues to me, means Kara II, or perhaps K3, or similar from other vendors. However, thinking of just the Santa Barbara Bowl and Hollywood Bowl, they use K1 and similar Big Dog arrays for both; one is a 5000 cap and the other 18000, so perhaps I am off base? I just don't feel a need to have a dual 12" cabinet en' mass, for a 3000-seat venue.

I am leaning towards Digico still, but am familiar with the Yamaha family as well. I had initially not thought of the Rivage, but the PM5 certainly will be added to my short list upon further reading.

I am hoping to have an A2/SE that can assist in the design and building part of the system. Not sure yet if that exists for me? I used to be that guy where I would design the system, build it, and do other A2 roles. My experience, however, is mostly with Corporate A/V, so I am more familiar with the smaller systems. I have played a bit in the touring world as an A2, where the A1 seemed to do most of the design and system tuning, I just built the thing. My experience with A1's that design and tune the system, has shown me, that the result is as varied as the individual's mood. I would rather have someone else design it, and get it ready for me, I just tweak to taste and move on. But that is a large ask from an A2. I am not sure if an A2 and an SE is on the table? I guess what I would prefer is more defined roles, with the exception of the A2, I want to beat that guy up

It sounds like most everyone is saying go with an LA-K3, d&b KS, or similar. The VTX A12 is on the radar, I am just not sold on it yet.

Craig, interestingly enough, both times I did sound for this individual, I was doing a small wedding, or other basic event. So I was using my meager JBL SRX, or PRX rig with either an X32 or M32. I somehow made enough of an impression for them to single me out amongst all the possible people out there!!! This is my equivalent of the one in a million, where the artist loves me for me, and had not needed another person yet for this role. Now to prove I can keep it that way

Matthew, I was initially thinking the same thing, that this smells weird, and too good to be true. However, I learned after the fact, that one of the musicians is a friend of mine that I have been working with for 20 years? So there is some trust already built on two fronts, and given my relation with this other musician, I trust him. So if he is in, I am in.

I still have a lot of research to do, but i certainly want to have options ready when the hard questions come my way. I have not yet gotten the " what are we getting " question yet. Which is to also say, that we have only had limited conversation up to this point, next week some contracts come in, and a couple weeks after that we will all meet in teh same room to talk business. So I am looking to have three system options ready. The Dreamliner, the " good enough for me " and the " well if I have to" rigs.

[Kevin Maxwell]

I guess the big question I have is do you have to lay out any money of your own or are you just spending some one else's money?

[Craig Hauber]

All good and valid suggestions. I wish I could say what the ultimate plan is for the gear? I have had some conversation, and it appears that there is an end market for the gear, so purchasing is ideal because they already know where it will go. I spoke again briefly, and it was mentioned that there was a relationship with JBL and if I was open to that. In the end I was told to ask for whatever I wanted. The trust is definitely there, which I appreciate, making me want to be even more open to options.

My idea of 3000-6000 seat venues to me, means Kara II, or perhaps K3, or similar from other vendors. However, thinking of just the Santa Barbara Bowl and Hollywood Bowl, they use K1 and similar Big Dog arrays for both; one is a 5000 cap and the other 18000, so perhaps I am off base? I just don't feel a need to have a dual 12" cabinet en' mass, for a 3000-seat venue.

I am leaning towards Digico still, but am familiar with the Yamaha family as well. I had initially not thought of the Rivage, but the PM5 certainly will be added to my short list upon further reading.

I am hoping to have an A2/SE that can assist in the design and building part of the system. Not sure yet if that exists for me? I used to be that guy where I would design the system, build it, and do other A2 roles. My experience, however, is mostly with Corporate A/V, so I am more familiar with the smaller systems. I have played a bit in the touring world as an A2, where the A1 seemed to do most of the design and system tuning, I just built the thing. My experience with A1's that design and tune the system, has shown me, that the result is as varied as the individual's mood. I would rather have someone else design it, and get it ready for me, I just tweak to taste and move on. But that is a large ask from an A2. I am not sure if an A2 and an SE is on the table? I guess what I would prefer is more defined roles, with the exception of the A2, I want to beat that guy up

It sounds like most everyone is saying go with an LA-K3, d&b KS, or similar. The VTX A12 is on the radar, I am just not sold on it yet.

Craig, interestingly enough, both times I did sound for this individual, I was doing a small wedding, or other basic event. So I was using my meager JBL SRX, or PRX rig with either an X32 or M32. I somehow made enough of an impression for them to single me out amongst all the possible people out there!!! This is my equivalent of the one in a million, where the artist loves me for me, and had not needed another person yet for this role. Now to prove I can keep it that way

Good, because you're too young to retire from our industry yet. 
-the world has plenty of "IT" people to go around, but nowhere enough knowledgeable sound people.

[Mike Caldwell]

When would this all start?
Do they have management that already has the schedule and venues lined up?
What other duties would you have other than FOH?

[Steve Eudaly]

As far as PA goes, sounds like the perfect job for d&b KSL. Well suited to scale up and down for the venue sizes you've mentioned and full-bandwidth cardioid really cleans things up in the arena level.

[Steve Ferreira]

Do you have CAD drawings of some of the venues you will perform at?
Rigging plots?
How much weight can the points hold?
Will you be able to deploy a proper rig given the weight restrictions?
I would start plotting those into the multiple prediction software and see what the plots looks like.

[Luke Geis]

More data!!!

Ok, so initially we will rent PA's to spec for the venues. The Purchase is for the actual tour next year. This company is looking to become a full production company, so that is the reason for purchase, it will have its own market. There is a Tour Manager already in place and I believe I have my Monitor Engineer in place as well. I just received the contract the other day, and signing is early in May, rehearsals start first of June.

I am on the lookout for a Systems Engineer. I would prefer one that will play as an A2 as well. The early dates are going to be small enough that having a dedicated role would not hold value. I know I can sell the management on paying a retainer salary for someone who can do both as needed. I am semi responsible for finding the Audio Talent. I.E. I am not required to, but am being asked to build my team. I have one A3, and about 95% sure on my Monitor guy. So, if anyone knows a Systems Engineer that is ok with playing as an A2, please let me know, I would love to talk to them.

I have an NDA, so I can't divulge much else, but I can say that while initially things seemed weird, everything I was told has turned out true, and things are panning out as you would expect with the exception of being time crunched. 3 months of rehearsals seems tight to me, I would prefer 6+ months, especially since the mixer option has not yet been decided. My brief conversation with my Monitor Engineer suggests we are looking to the Rivage PM5.

Thank you all and keep em coming!!

[Steve Ferreira]

I'm not sure on how the equipment purchase times is doing now, but most places are still taking long periods of time to get equipment out to customers. Reach out to a rep and see what they say.

[ProSoundWeb Community]