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Chasing hum in a situation like that, most of us would have had a similar experience and never thought to check the ground at the panel - it's assumed...   

Well, it shouldn't be assumed. If you have anybody (including yourself) tie in a distro, pull out a meter and check every connection. Make sure that everything does what you'd expect, like an actually voltage reading between hot and ground, and a very low voltage between neutral and ground.  And if no discernable voltage between neutral and ground, then make sure there's continuity between the two.

So anyone want to guess the problem in the lovey atmospheric theater?

It sounds like the bond screws (ground to neutral) in the disconnect switches had not been removed.  The neutral shares any current it has with the ground, thereby causing a [variable] drop on the ground reference for the two systems.  You might get away with this today, but 35 years ago the pin 1 problem was much more common, and hum was the result.

GTD

Electronics system issues can manifest in ways we would never imagine.  Year of electronics and avionics.  Common causes of problems are wiring, power supplies and software/firmware corruption.

Recently had an issue with DirecTV Genie DVR in my den system when playing back recorded shows, it would drop out and end the playback at some random time of the playback.  i.e. a 1 hour recording may stop playing at 37 minutes in.  So, I contacted tech support and got a replacement.  Installed the unit, left the old power supply dongle attached as it was zip tied into the entertainment system rack.

Guess what?  Replacement receiver manifested the same issue.  Swapped out the power supply dongle and everything works just fine again.

I can't tell you how many avionics faults and issues we corrected by changing out a power supply or voltage regulator.  Next culprit in aircraft is typically wiring issues.  Those manifest from being disconnected and re-connected, bent around, pulled, unclamped and moved to facilitate access to other things embedded deeper the equipment bay or compartment.  We refer to those as FOM removals (For Other Maintenance).

I put patch panels in all my racks and don't plug and disconnect to equipment for this reason.  Did a 4th of July show for an associate in Hanford, CA at the fairgrounds years ago.  His contract and system.  I went out with a helper with his system and did the show at the fairgrounds while he did an annual festival up north a Mondavi Winery.

Set everything up in the infield on platforms and nothing worked.  Power on, everything hooked up right.  Checked a few more things, then got signal from a source.  After changing out a few cables, disconnecting and reconnecting a few more and wiggling a few it was hitting on all 8 cylinders.  I vowed to never do that with a setup, plug directly into processing gear and amps.

Word.

RJ45 are rated for 1300 insertion cycles.  IIRC, HDMI connectors are not much better.  Both are often directly soldered to PC boards, so any leverage on the external connector is potential for eventual failure inside the device, too.

I've had original Cannon Electric XLR sockets that were easily 30, 40 years old remain 100% reliable but new "other brands" fail in 1/4 that time, some of them side by side in a patch panel.  They don't make 'em like they used to.

I have a Roland UVC-2 "web presentation" AV interface.  USB "blue something".  Using any USB cable other than the one provided with the unit was Quixotian.  Tilting at bytes and bits, but never connecting.

Chasing hum in a situation like that, most of us would have had a similar experience and never thought to check the ground at the panel - it's assumed...   

Two stories to tell -

First at an historic vaudeville/movie house of the "atmospheric" motif, so the original electrical service has a very "Dr Frankenstein's lab" vibe, although much of it was decommissioned and replaced with modern service (red herring alert).  In the update the architect specified 208/120 100 amp service for SL and SR (no herring here), below stage level (floor pocket) in power vaults (the orchestra pit and seal room were between them).  Popular band from the 1970s, not my show, call from PA provider about hum/buzz.  "PA is quiet until we connect the monitor split; monitors are quiet until we connect the PA split.  I've used every Pin 1 lift I have, do you have 8?"  PA power is SR, monitor power is SL.

Second is personal, and how I nearly did great bodily harm to another PA provider after I recovered.  "Rock on the Tarmac" at general aviation airport, we're providing additional subs, power, and processing for the subs.  Airport electrician wires in 2 feeders to 2 circuit breakers for 120/240v 100 amp service in a brand new panel in a newly built hanger.  Most of the PA was on one distro, and our sub power and DSP was on a second distro.  Another of those "it's quiet until we put them together" problem.  Audio isolation transformers only changed the sound of the hum; pin 1 lifts were more successful.  I then ask the PA provider if the neutral and ground in each of his distros are unbonded.  "Of course!"  After the show, I do the disconnect at the panel as the electrician is at the other end of the ramp, disconnecting food vendors.  On the second service, the electrician (for reason I'll never understand) stabbed the neutral into the bus bar from the Line bus side.  When I removed it, the neutral feeder wire grazed a line bus 'finger'.  The result was a loud bang and flash (neither of which I remembered immediately after), and a coworker leaning over me asking if I was okay.  Eventually I got up, ears ringing, and followed the feeder to its distro.  I opened the distro, found the neutral and ground bonded (hence the arc flash), so I took my diagonal cutters and installed high impedance air gaps in every conductor, put the cover back on, and vowed to kill that SOB.  Revenge is a dish best served cold and Mother Nature took care of for me a few years later.

So anyone want to guess the problem in the lovey atmospheric theater?

All of this was around 25-30 years ago, and both directly changed the ways I deal with show electrical distribution, how I specify power needs, and how I work as a show electrician.

AVAILABLE FOR PICKUP IN MONTREAL QUEBEC CANADA.
Email: [email protected]
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For Sale: 2 x NSI Leviton MLC Light & Moving Light Console
DMX 512 XLR 3 + XLR 5 options.

Includes: Little, power cable & pro road case by Caisse Design.

Plus included is one more console that may have issues without case and light.

The two with cases power up and function well. The third powers up and functions but may not be reliable

I have 2 of these kits with cases available & a spare console for parts.

$400 + shipping for the lot including the spare parts board. Or Best Offer This Week!
Must sell Immediately. Email:  [email protected]

AVAILABLE FOR PICKUP IN MONTREAL QUEBEC CANADA.

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.

AVAILABLE FOR PICKUP IN MONTREAL QUEBEC CANADA.
Email: [email protected]
I will ship at buyers expense. CANADA & USA

For Sale: A Pair Of Condenser Microphones. Great for recording or live work.

2 x AKG SE 300B body + CK 91 condenser mic capsules

2 x clips

$500 + shipping for the pair.
Must sell Immediately. Email:  [email protected]

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Mandisa - Grammy-winning Gospel singer passed away at 47 years old.

https://www.cbsnews.com/news/mandisa-grammy-winning-singer-and-american-idol-alum-dead-at-47/

FS: Recone kits & Diaphrams Radian - Rat Microwedge & RCF - EAW
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I will ship at buyers expense. CAN/USA

Radian Microwedge NEW replacement parts: ($100 for the 2 pieces)
1 x Radian (Microwedge) 12 inch Speaker recone kit Model 5312-8
1 x Radian (Microwedge) replacement diaphragm Model 1750 for compression driver
Replacement diaphragm can be used for Radian compression driver and coaxial speaker models: 636; 651; 745; 760; 835; 850; 5215B; 5312.

RCF NEW replacement woofer recone kits: ($140 for the 3 pieces)
2 x Genuine RCF R10/561K recone kit for L10/561K 10 inch low - mid woofer
(Used in EAW speaker products - FR102 amongst others)
1 x RCF Genuine RCF R15/554K recone kit for L15/554K 15 inch low woofer
(Used in EAW speaker products - BH500 amongst others)

$225 + shipping for everything (5 pieces)
Must sell Immediately. Email:  [email protected]

AVAILABLE FOR PICKUP IN MONTREAL QUEBEC CANADA.

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.