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Sound Reinforcement - Forums for Live Sound Professionals - Your Displayed Name Must Be Your Real Full Name To Post In The Live Sound Forums => LAB Lounge => Topic started by: Mike Monte on April 03, 2022, 08:11:44 PM
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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....
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Dear Doug,
I'd like to teach the world to sing in perfect harmony...
Can you indulge us having a bit of fun?
Hi Mike,
I'm temporarily living quite a ways from home.
The tiny system I brought can do a lower-volume wedding reception or conference, and
is a pair of Tannoy VX8-P self-powered speakers on US TS90 stands with K&M tilters.
Wedges are my Equator D5 recording monitors.
Mixer is a Mackie DL16S. I'm fast with the app and it sounds good.
I ordered a tiny Behr Flow 8 as a backup, which can have a couple extra
phantom-powered mic channels through a Centrance MixerFace,
which is a very nice two-track recorder or USB interface.
USB 16-track recording is on my laptop or an Ipad with the HarmonicDog MultiTrack DAW app.
Mics are a mix, KSM8, SM58, hard-wired Beta-53 and E935 for vox,
Rode NT5s with M. Joly capsules, several Bartlett clip-on omnis, an ancient,
tough, good-sounding AKG C3000 if somebody really wants large diaphragm.
One other - a custom stereo mic I built. Radial mini active DIs and two-track interface.
K&M short and tall tripod stands. APC UPS, ASUS AC68 router.
A few extensions, a powerstrip. XLRs, 1/4" cables, Ethernet, a few adapters and spare bits.
My trusty old Sennheiser HD25 headphones, Shure and Etymotic IEMs.
Why this equipment? Size/weight, I know it and can make it sound good.
All of this easily fits in my little Mitsubishi IMiEV electric car back in NC, or
the Honda Fit here in NY.
I'll likely have a few more bits shipped up here. And I've made some local contacts for
renting more substantial equipment when needed.
Am looking forward to mixing summer events in a tent on a d&b rig -
four-piece chamber music to wedding bands.
What would l change? Maybe move the Tannoys to wedge duty and
get a pair of RCF TT 10-A(or similar) for mains.
Or get my Danley SM60Fs which are pretty amazing.
Thanks and good health, Weogo
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If things go well- people who aren’t interested in this type of thread won’t bother checking it. I’ll play along.
WHAT?
Speakers.
6x Srx725
6x SRX728s
Srx715 and srx718 rig
Amps are a mix of Powersoft T series, a pair of itech5000hd, a boatload of Behringer nu/nx.
Mics are all over the place. I learned years ago “always buy mics in pairs”. So even numbers of most lol. Sm58, e865, sm81, typical drum mics too. Radial DIs, md421 and 441. Cheap DIs.
I get the swap-at-gc live wire brand cables ALWAYS. Good stands are well worth it.
Mixers - m32, x32 compact, Ui24, Soundcraft expression3. Small cheap mackie analog.
Lights. A bunch of LED cans and moving lights. Good hazer, cheap hazers. A couple sticks of truss, crank stands. DMX from ShowXpress software.
About a year ago I bought a mobile stage. 24x16, engineering certified, folds down to a trailer.
WHY?
Sort of just what happened. Started small doing bar gigs in college. Upgraded things here and there for the last 15 years. I heard then-current srx725/728 stack and fell in love. Eventually started buying them up. Look at business as “will this make more money for me?” and buy that stuff. I haven’t purchased any type of line array (yet) because I don’t see it generating the money I’d invest. My current stacks perform very well and they’re paid for. They sound great and - more often than not - they’re actually not all together and I can have myself with one set and other crew doing another gig with another set of stacks. Again, follow the money.
APPLICATION
wherever the money is. I ended up filling a lot of “party in the park” type events in the summer season. I generate 85% of my income from May til September. I have a couple racks of wireless mics , not the cheapest ones but not the most expensive. I do corporate gigs once in a while. Lights are nice when it gets dark out early so I have some of those.
TRANSPORT
Cargo van. Chevy express and a small trailer. This year I’ll be renting a larger trailer from a friend who does winter work, it’s a 7x14 which is way nicer than my small one. A handful of times each summer I have to rent a 14ft uhaul box truck. That mobile stage requires a tow vehicle, which means I have to find crew who can and will tow. I just got a Yukon xl to work as personal vehicle for fam, but will also tow the stage. More importantly - the best thing I’ve done for transport is to put wheels on the gear! A trip to Lowe’s for some thick 3x2ft boards and a box of casters.
WHAT I THINK
I sort of interjected thoughts above. All in all I have a successful operation so I’m happy.
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Updated 12/20/23
what sound gear (speakers/mixer/mics/etc.) you are currently using
Danley SM 80 and TH 118, one each per side (with 2 additional TH118's for big jobs) with a few different K&M threaded pole options, BT-12 balanced tilters, and Duratruss 3900 speaker stands for a variety of mounting options. Danley DNA20k4 for mains power.
4 "Smithers wedges" loaded with B&C coaxials, and a few Crown XLi 2500's for monitor power.
Midas M32R mixer and DL32 stage box, 20' of Global triangle truss and stands, 2 Ultimate front lighting stands, a bunch of Prost, Cameo and Chauvet lighting with a Show Designer controller. Bunch of mics, mostly Shure, Audix, and Sennheiser. Also have a pair of Yamaha DZR12s on stands, they can also double as monitors or mains. Usually use them for smaller SOS type events. Made all my own mic cables with Neutrik gold plated pin XLRs and Canare star quad.
- why you went with that particular gear
I started with JTR triple 8's and needed some subs to go with them, found a great deal on a used pair of Danley TH115's. Then the SM80 came out and I wanted more SPL for the rig, so I got one of the first pairs. Converted the TH115s to TH118s. Had 4 Bag End TA15 monitors, they were great but 80 lbs each, so I built some Smithers 12" coaxial wedges (plans at Soundforums) since at the time there were less choices in coaxial monitors than today. Most of the stuff I have gotten has had good reviews from multiple people I trust on PSW, since I don't have a lot of opportunity to audition stuff, and I haven't made a purchase I regret in quite some time.
- the application (type of live music only, please instruments, etc.)
Mostly live bands including my own. We have done everything from acoustic solo acts to hard rock to the Buddy Rich Orchestra.
- how you transport it
6x12 trailer. Both my son and I have tow capable vehicles.
- and, most of all, what you think of it....
I like all our stuff, sounds good, works good, I really had no desire to go bigger but then my son upgraded with the Danley amp and 2 more TH118's. It's pretty much his system anymore.
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Mine is very simple:
2 Mix Racks:
Rack 1 - Behringer X32 Core, S16 and Crown iTech 6k (in a 6 space rack)
Rack 2 - Behringer X32 Rack, XLR panel, Crown iTech 4k, Crown iTech 8k (in a 10 space rack).
Tops: Yamaha DSR112 -or- JTR Neosis 3tx
Subs: 2 JBL SRX728s, 2 JBL SRX718s
Based on the room, I take the appropriate components from the above list.
I love all of my components. Love the JBL SRX700 series line of subs and both of my sets of tops are loud and clear.
Compact and can be set up in minutes.
Subs transported in my guitar players Ford Explorer
Everything else in my Caddy Escalade
(monitors, mics and cables are nothing special....the usual suspects)
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Mixers.
A&H QU PAC
A&H QU-16
A&H SQ5
Midas MR18
Rack 1:
Ashly Protea 4.8 DSP
(2) Crown MA5000i
(2) Crown XLS2500
Rack 2:
(2) Powersoft T602
(1) Powersoft T304
Tops: TW Audio T20 90 or JTR Noesis 3TX
Subs: JTR212 or Tannoy VSX15B
Monitors: EV SX250 and some DIY 12" coaxials
Mics: mostly SM58s, SM57s, Shure drum kit, E-609, along with the SEV7 which seems great for singing drummers.
Radial Engineering. D boxes.
Transport: Family mini van or enclosed trailer
Live music, small community type events.
Reason for gear choice:
Size and weight.
I really like the A&H mixers for most all shows, but I do like the grab and go feel of the MR18. To my ears the 3TX powered by the MA5000i sounds great for folk, blue grass, the acoustic stringed performances, but I really never could get to where I wanted to be with the sound for the Blues Rock, 90s alternative or the Southern Rock music, (could be me, not the gear and I can accept that). The TW Audio using the Powersoft amps seems to fill in what I was missing with the 3TX. I have only used the T20s for 3 outdoor shows, but each time nothing but compliments.
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Sometimes it's just fun to gush about what cool stuff you have and how you're super happy with it all :)
Sound gear:
Consoles:
SQ6/GX4816/ME-1
C3500/DM32/GX4816/ME-1
Xair18
Flow8
Wireless:
8x QLXD (HH,BP) [B87s/c, SM86, KSM8, sE MC1, B58] [I really only ever use B87 or SM86] [OTE: DPA, THOR, Acacia]
4x EW300 G3 IEM
Wired:
Senn: e904, e604, e906, e614, e935
Shure: B91a, B52, KSM9, SM81, B87c, B98, SM57
Rode: NT1, NT4
Presonus: PM-2
Audix: OM7
Heil: PR35, PR22
DI:
Klark Technik
RNDI
Countryman
Teegarden Magic DI
Radial
Speakers:
SPL TD1
SM100
TH118
SM-LPM (SM100 monitor)
K12 (if I have to use monitors)
DNA20K4
Why I went with what I went with:
dLive = more FX/Dynamics processing
SQ = slightly better than X-series at the time
Xair = small bar bands with no room for FOH
Flow8 = smaller gigs/weddings, perfect mixer; can record; FX, monitors etc.
QLX-D = Having too many wireless issues, I now have zero
EW300 = Langston's post about IEM's, while these are technically better I think the Shure would have made non-picky musicians happier
Mics = Just enjoy experimenting with mics. I've narrowed it down to what I like though. V-B87 (cuts/HiFi), D-904 (fast),
DIs = I enjoy experimenting with DIs. I've narrowed it down to what I like though. RNDI, KT, Radial.
SM100 = Small system (replaced SRX835p)
TD1 = These sound so good
DNA20K4 = good deal, plus these amps are incredible, sips power, endlessly configurable, zero headache limiters, etc.
K12 = money maker
Application:
Church contemporary bands. Mostly IEMs with multi-tracks.
Transport:
14x7 - V-nose trailer towed with F150
Lighting & Video also go in this trailer + trussing.
I'm getting to the point of it is too small.
Do I like it?:
Insert expletives yes!!!
The sound-system sounds so freaking good I can't believe anyone uses anything else. Forget correct coverage & phase alignment and all that crap. Get good sounding speakers is 99% of the battle.
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Does anyone want to share:
- what sound gear (speakers/mixer/mics/etc.) they are currently using
Either whatever is given to me on a gig or...
I own a Yamaha CL3, a Behringer XR18, A rode shotgun and a couple of sm58s. Oh and probably some other labs and crap I don't ever use.
Does anyone want to share:
- why they went with that particular gear
I use the CL3 to remote mix studio gigs from my house. I chose it for it ubiquity in the corporate audio world which is where I ply my trade as well as it's ability to "mirror" another Yamaha console remotely. This enables me to mix gigs in my pajamas, which I enjoy quite a lot.
I use the XR18 as a utility mixer for monitoring control and zoom calls and all kinds of stuff. very handy that it has a 18x18 USB interface to my computer.
Does anyone want to share:
- the application (type of live music only, please instruments, etc.)
I basically don't do live music anymore. I haven't for quite a while. In fact there are a LOT of audio professionals who don't do music gigs. I'd venture that would be "Most" actually.
I do live special events with both in person live audiences as well as broadcast and webcast events. I work on site, but I also work virtually from my house.
Does anyone want to share:
- how you transport it
My console doesn't get transported [well expect for that one time a few weeks ago when I carted it to a VERY RARE for me local gig]. I have a variety of other gadgets that go into one of the various Pelican style cases I own and then get checked onto planes.
Does anyone want to share:
- and, most of all, what you think of it....
My gear works well for me. It makes me money. That's why I do what I do. It's how I pay my bills.
I've been doing sound professionally now for 3 decades. I still love my career choice. I still love growing and learning new things. I largely left doing music gigs about 15 years ago, and I don't miss it a bit. I find what I'm doing now to be more challenging, and I love that. I also have a lot easier time paying my bills.
I know mine wasn't the kind of answer you were looking for. But I can't seem to pass up an opportunity to remind people that "mixing sound for music acts and shooting that sound out of big black boxes" is not the only way to find an interesting, challenging, and yes REWARDING career in audio.
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I get to play in two different worlds. I have my own stuff which has turned more into a side gig and the company that I am now employed by, which I get to drive much of the purchasing decisions : )
My gear: Midas M32 + stage box, JBL SRX 812SP's mains, JBL SRX 818SP's subs, and 8 x RCF NX12SMA monitors. My mic box has standard Shure options, Audio Technica, and I have become a bit of a drum mic collector. I have a Miktek PMD5 kit, an Audix Kit and a CAD Kit. I use Behringer C2's for hats and perc., while I have a pair of AKG C212's for overheads. I have a few other options, but that rounds it out. I have a dozen DI boxes that range from passive to active, stereo to isolation.
I use it because: At the level I was working at, I dealt mostly with local and intermediate bands, some small corporate gigs, and medium-sized special events like Pride festivals, or other local outdoor events. I wanted gear that was easy, worked for me as opposed to making me work, would get me in and out of the venue quickly and can pack as much punch as would fit in a Chevy S10 pickup truck.
What I think of it: I mean, it is a pretty good package really. The RCF NX-12SMA's were really nice addition. I am the only game in town with that level of quality sitting on the stage in that quantity. The JBL SRX stuff was as good as I could afford for the type of work I could nab. It sounds really good and pretty much runs itself. The Midas M32 is popular among bands and not one person has faulted me for it. All in all, I can arrive at a venue, set the whole thing up ( including 8 monitor mixes ) in about 3 hours, and strike it all in under 2 hours by MYSELF!!! I don't have to spend much time fiddling with tuning and I can create a good mix easily.
For the company I work for: We own Yamaha QL series mixers, an L' Acoustics Kiva II rig ( 16 Kiva's, 4 SB18's, 4 SB15's, and 8 5XT's ) with 5 x LA4X amplifiers, we use Crown XTI's to run a set of 8 JBL SRX 712M's and we have a standard mic kit that is not as nice as the one I personally own. We do mostly corporate where I work, so most of the gear is suited towards that type of client and their needs. I sort of fill in the rest if needed.
Why we run it: Let's be honest, L' Acoustics is top-o-the-heap and the Kiva II's are a hell of a box. With The LA4X they are very easy to manage and as a system, it really packs more punch than its weight suggests. It's hard to beat really.
What I think of it: The L' Acoustics stuff has its quirks. I do not like ground stacking the Kiva's... It has a thing going on. In the air, it is a dream. The prediction software is accurate and tuning it takes minimal effort. The system as a whole is definitely nice to work with and I would be happy dealing with it anywhere, anytime. The QL is par for the course, you can't go wrong with it. As for the JBL monitors, well, they are predictable and I can get them loud enough for anyone I deal with. We almost went with RCF for everything, but a great deal presented itself to us and I couldn't be happier.
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Does anyone want to share:
- what sound gear (speakers/mixer/mics/etc.) they are currently using
Main: RCF TTP4A (4x)
Subs: JBL SRX828SP (2x) (being replaced late summer with either RCF TTS18/TTS36 or Sub9004/9006)
Monitors: RCF NX-12SMA (5x)
Mixer: A&H SQ5 & AR2412 + AR84
Mics: Basic Band Festival mic package (Vox: e935, GTR: e609, Kick D6/Beta91a, Snare: e904, Toms: e604, OH/HH: SM81 and a handful of Radial DIs). K&M 210/9 mic stands
Cabling: CBI Ultimate mic cables (2', 6', 15', 25' & 50'); 150' "drive snake" with 1x Edison extension and 2x Cat5e cables.
- why they went with that particular gear
I’m growing and trying to focus on Mid Level shows; 300-1000 people outdoors (above the bar guys, but smaller than the 8x box line array hang companies)
- the application (type of live music only, please instruments, etc.)
Live Music of all kinds
- how you transport it
Jeep Gladiator towing a 6x12 tandem axle enclosed trailer; I out grew my 5x8 enclosed trailer over the winter.
- and, most of all, what you think of it....
In 2016, I closed up shop after a 6 year run with a prominent wedding band because I was burnt out. When I started rebuilding Meerkat Sound "2.0", I know buy quality gear and try to get the gear that I would hold onto for many years. My last system was Fulcrum FA22ac and SRX718s/Itech amp (at prior to joining the wedding band, I had 4x SRX722 & 4x SRX728 with Itech power). I started out with the JBL SRX8##P system, and I don't care to much for it. I don't think it is as good as the older SRX7## and Itech amps.
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I manage a regional company with enough inventory to do an arena gig and a theater / ballroom gig on the same day, with stuff left over. All purchase decisions are about what will be used most often, not what I like.
I don't want to show off (to some) or bore others. We have grown thanks to the generous advice offered here and some smart acquisitions and marketing. Same deal as Tim, we (used to and hope that market comes back) do corporate events that featured numerous break out rooms for training, seminars etc. We can easily cover the main ballroom, break out rooms and a national act if they do big entertainment. We have pallet racks of KW, ELX, SRX, STX and HK 12" 2 ways and a few smaller. quite a few powered 18" subs to go with them. We have done a zoo bar crawl event with 12 side stages and main stage with material lifts and 6 Muse 210's a side. We have 16 of the Muse's and can rent more about 50 miles down the road, it's our largest rig. We take it out with up to 12 Meyer 650R2's, Meyer B2 (I think) processors and Lab Gruppen FP 6400's. Next down is our VRX Rig, we have 8 942LA's and 6 STX 828S powered by the more of the FP6400's and a Venue 360 processor. Have another STX point and shoot system same power with DVX 260 processor. Last but not least on the midsize is the HK Projector horn loaded system, have 4 top boxes and 8 subs.
This doesn't even begin to count the big projectors, small room projectors, fast folds in all sizes, StageRight and Wegner staging, ETC Congo JR lighting console with wing, we have a bunch of lights too but nothing remarkable. Heavy velour drape and banjo cloth, shit loads of pipes and bases. Material lift, chain falls, flying frames, crank stands from big to small, couple hundred feet of soffited truss.
My 2 favorite purchases though were a box truck with a lift gate and our new warehouse came with a towmotor. That felt like we were growing.
I am at the same point as Tim, buy gear that is going to provide the returns we are looking for. New gear has to bring tangible value to the customer or better operating economics for us. We have decent gear and great techs and hands that make is sound "best in class".
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At my day job we have countless warehouses all over North America, not to mention hotels all over the world. Sometimes I get a say in what we are looking at to purchase.
My side gig (weekend warrior) I have the following
Speaker & amps:
2x SRX 725
2x SRX 728
6x SRX 712m
2x PRX715
2xPRX 718
Crown Itech 8000s or XTIs
Mixer
Soundcraft Si Expression 3 with router and Ipad control
32ch digital snake
Mics
Lots of Shure and Senheiser in various flavours. Both wired and wireless
Different sized in K&M stands
Lighting
Chauvet LED moving lights
Various LED Par cans
Radiance hazer
Le Maitre G-100 smoke machine
Led effects lights for dance floors
LED bars for uplighting walls
Cables
Most cables are all Digiflex (XLR, speakon etc)
200' 24x8 analog snake
I have some truss and bases as well.
Why do I do it?
It all started as a joke many years ago. I was helping out friends and working for 1 of the largest production companies in the Portuguese community. One thing led to another and I started a company. Didn't expect it to last this long, 20 years later and we are still going at it.
Transportation
I use a 2014 Chevy Express extended van
I do have a client that I have provided for, for many years. The event started with a small stage and it ran for 2 nights, very easy. It has grown to a 4 day event with mobile stage, LED wall, line arrays, multiple bands etc. For this event I have a very good working relationship with a local company which I rent all equipment, and have them provide the labour for setup and teardown. It's a win win for everyone involved.
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Weekend small band out side or larger room.
Behringer X32 rack with S16.
Crown xls 2500 xls 2500 and xls 1500 tri amp drive rack Pa.
behringer Inuke 4-6000 for monitors 4 channels
crown xls 1500 spare for drum monitor or wide fill.
old scoop style subs with emminance kappa 15 for the subs 1200 watt peak.
old EV Pim 122 rebult with HP64 horn 2 inch throat pyle pd752 driver
12 inch carvin neo driver.
one jbl jrx monitor
two EV QRX 112/75 as floor monitors
one no name floor monitor been upgrading to better speakers internal as they have blown
one back up emminance kappa in base guitar cabinet for drummer as sub. for bi amp with 12 inch monitor.
sold the 2 jbl mrx 818 and 2 yamah s215v.
down sizing and leaving the work behind.
used a jeep liberty and trailer to move. and was easy to bring in and out of venues. Most weights were down around 100 lbs to move.
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Right Tim, companies like yours don’t fit in here.
Wow. Inspected, de-tected, se-lected, and re-jected! It's a tough room... ;)
I've taken the same approach to my personal equipment inventory - something has to be a stand-out item or have incredible sentimental attachment for me to own it without it having some kind of potential economic productivity.
I have about 90 70 mics in my inventory, almost none of which are common in typical small biz sound shops - C-535 and C-391 (AKG), Beyer M-69, Oktava MC012 and MK219, Crown PCC160, AT 853 and AT4041, Shure SM86... and have at least 6 of each model. Ditto for owning Radial J-48 and Countryman FET85 DIs. I had to sell off part of my mic collection :( to pay bills last year. I hope those who got them are using them to their fullest.
I still own my first digital mixer, a Yammy 01v (plus an 01v96ii), X32 full size and rack, and a Behry Flow 8 (for Zoom / conferencing).
And a pair of Yammy DBR12 (thanks, Mike Pyle). If I need 'real' speakers I'll rent from my boss.
The Retirement Sale starts in 2023...
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I manage a regional company with enough inventory to do an arena gig and a theater / ballroom gig on the same day, with stuff left over. All purchase decisions are about what will be used most often, not what I like.
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.
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C’mon everyone, need suggestions for renaming this thread.
Thanks.
Taco Bell. Love it or hate it??
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Taco Bell. Love it or hate it??
Run for the border (or the facilities). Before I started eating reasonable my taco bell order was 3 crunchy beef supremes, 1 burrito supreme and 2 orders nachos and cheese with 9 fire sauces.
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Run for the border (or the facilities). Before I started eating reasonable my taco bell order was 3 crunchy beef supremes, 1 burrito supreme and 2 orders nachos and cheese with 9 fire sauces.
That's a heart attack in a bag! :o
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That's a heart attack in a bag! :o
Only Beef Supreme for me is when I’m watching Idiocracy.
I wouldn’t even know what to order at Taco Bell.
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C’mon everyone, need suggestions for renaming this thread.
Thanks.
McCulloch's Microphone Menagerie.
Holtzman's Heartburn Headaches.
Small Sound Co Rig Rundown & Rationale
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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
Me: part-time sound tech, full time musician
My rig(s):
Speakers: Yorkville TX9s (4), TX8 (4), TX4 (4), TX3 (2), E152 (4) E808 (reloaded w/ b&c 18tbx 100)(2)
Monitors: Bose 402 (three pairs), QSC K10, QSC K8 (2)
Racks: (5);
- Rack 1: Furman power conditioner, Bose 402C, TX3P, Crown XS4300, XLS2500, XTI4000
- Rack 2: Furman power conditioner, Bose 402C, TX4P, Crown XS4300, XTI4000, Itech6000
- Rack 3: Furman power conditioner, Bose 402C, TX4P/8P, Crown XS4300, XTI4000, Itech6000
- Rack 4: Furman power conditioner, TX8P, Crown XS4300, XTI4000, Itech8000
- Rack 5: Furman power conditioner, Bose 402C, E152PP, Crown XS4300, Itech6000
All of the above racks have one connection for power and a patch panel with speakons on the back. Plug’n go.
A&H QU24 & QU16 mixers each w: iPad mini, router
- Mics: bunch of e835’s, 57’s, 58’s, drum mics: e604’s, D6, D112 (also use 57’s on drums)
- Lights: 16 can (2 trees of 4, two floor mounts of 4) PAR 38’s (w/150 watt LED bulbs), dimmer packs, DMX Operator Pro, snakes, etc.
Additional stuff: Yorkville M1610-2/M810-2 powered mixers, E10 speakers (4), (One Crown Itech5000HD as a spare for racks 1-5) two Crown K2 power amps
Generators for my PA: Honda eu3000is (2)
I was gung-ho about doing the club scene when I started out but soon learned that it was way more fun to be playing on stage rather than tech’ing a stage, so I started looking for small festivals, multi-band events, HS graduations, HS musicals, etc...basically things that pay significantly more that are somewhat music related. I still gig an occasional club…
My mixers were purchased as new. 90% of my speakers, power amps, processors were purchased as used. (All “used” power amps were purchased with warranty still left on them [I called Crown with the serial #’s prior to purchase]. I sent them all back to the factory (under warranty) to be checked-out (the Itech and XTI amps had the ribbon cable/display panel replaced).
My usual club rig is my TX3 rack with two TX3’s and two ES808’s with four Bose 402’s, K10, two K8’s (as monitors) along with two trees of lights. (More than enough RIG for the clubs around here.)
I fit my club rig in my Ford Expedition with trailer-hitch-mounted cargo rack.
I like what I have although it is heavy (combination of gear weight & my age). My gear has paid-for-itself time and time again. I have thought about side-grading (not upgrading IMO) to an active rig but if my gear works well (albeit heavy), why spend the $?
For larger outdoor events I will use my e152’s as monitors, rent a van / trailer, or subcontract-out for the additional gear when it makes sense to do so.
I try to keep a balance in my doings; 80-85% performing, with the rest as a tech. Some years it flips a bit but the above is what I prefer.
If I were to upgrade anything I would upgrade: my lights……….. My light rig is spartan at best; old-school, clunky, etc. It doesn’t use much wall-power… A 16 fixture LED rig would be nice – no dimmer packs, etc…..
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Hey All. I hope everyone is doing well. And for what it is worth, I find topics like this pretty helpful for little guys because they find out what gear is worth investing in to start and grow a business. If you can call sound gear an investment.
I use 2 small JBL rigs. Because at 54, I am done hauling BIG, HEAVY things. And the gear I have fits well into my 2015 Honda Pilot and I can still get about 20 MPG. I still have my 4 MRX 512's which have made me a crap ton of money. I power these with a Crown xti 4K. For other shows, I use JBL PRX 812's and PRX 818's. These too, have made me a lot of money. They have held up very well and I have never had anybody complain about them. If I get a call for larger events, I call a friend who has can handle it. My board is a A & H QU16. Good sounding, lots of versatility, and if needed, lots of monitor mixes. I also have 13 Audio-Technica 3000 series wireless headset mics. I also have a few Shure SLXD and a Senny handheld if they are requested/needed.
Everything I have is PAID for several times over. They continue to make me money and the clients like the sound, which to the best of my ability is present but not noticed. By that I mean, the sound should just work and not be an issue. 90% of the gigs I do are community and school events where the client is spending other people's money. And 90% of my clients are repeat clients for the past 5 years or more.
As often said here, Buy once cry once. Charge enough to have somebody else cover your butt if somethings happen. And Be nice!
Scott
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Hey All. I hope everyone is doing well. And for what it is worth, I find topics like this pretty helpful for little guys because they find out what gear is worth investing in to start and grow a business. If you can call sound gear an investment.
I use 2 small JBL rigs. Because at 54, I am done hauling BIG, HEAVY things. And the gear I have fits well into my 2015 Honda Pilot and I can still get about 20 MPG. I still have my 4 MRX 512's which have made me a crap ton of money. I power these with a Crown xti 4K. For other shows, I use JBL PRX 812's and PRX 818's. These too, have made me a lot of money. They have held up very well and I have never had anybody complain about them. If I get a call for larger events, I call a friend who has can handle it. My board is a A & H QU16. Good sounding, lots of versatility, and if needed, lots of monitor mixes. I also have 13 Audio-Technica 3000 series wireless headset mics. I also have a few Shure SLXD and a Senny handheld if they are requested/needed.
Everything I have is PAID for several times over. They continue to make me money and the clients like the sound, which to the best of my ability is present but not noticed. By that I mean, the sound should just work and not be an issue. 90% of the gigs I do are community and school events where the client is spending other people's money. And 90% of my clients are repeat clients for the past 5 years or more.
As often said here, Buy once cry once. Charge enough to have somebody else cover your butt if somethings happen. And Be nice!
Scott
That sounds so like my retirement except I am going to sell the pile of utility 12" speakers (almost 60 of them) and when the right deal comes across get a D&B stacking system like some C series tops and subs, a few B2's and a small stack of Q10 and StageMax monitors. I can combine these bits together to make nice packages and will be dealing with people who are willing to pay for better sound. I will find a helper that can keep inventory and the warehouse tidy and go out to gigs and do the heavy lifting.
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I think the topic name is fine, but that's just my two cents.
Here are a few bits of mine to contribute, keeping in mind that I do sound and the corporate/local level, lighting at regional level, and pyro at the pro/national level:
Sound:
Aside from the usual pieces of sound kit I've really enjoyed my A&H dLive investment. With the majority of my sound jobs only needing a handful of inputs I really like the dLive's ability to run "headless" or simply with the IP8 fader wing plus laptop. It gives me just the right amount of tactile control without needing to haul in a massive FOH console, yet I still get the full dLive toolbox at my fingertips. It's not particularly cheap compared to X/M32 offerings at half the price or less, but for my personal inventory it's been an outstanding addition.
Lighting:
While now considered an obsolete oddball, my ETC Congo Kid continues be an excellent personal console that can niche into rolls often requiring a board several times its cost. I wrote up a detailed review several years ago that can still be found here (https://forums.prosoundweb.com/index.php?topic=164054.0), but the thought process outlined within that review still remains valid for guiding purchases today. With ETC's Congo/Cobalt Series now obsolete I'd venture towards either MA3 or Hog4 if making the purchase today, but for the moment the Congo Kid is holding up just fine for instances where renting an MA3 is unnecessary.
Other bits of lighting in personal inventory range from ADJ and Chauvet to Martin and High End. As I think most regulars here know I personally choose not to use no-name imports in my rigs and consider ADJ and Chauvet DJ to be a minimum acceptable product baseline depending on the application at hand. Aside from the typical staples of a lighting rig I've found myself owning quite a few specialty fixtures that can't easily be rented (Elation Sniper Pros, ADJ Ninjas, etc.). While not seeing the same levels of use as Mac Vipers or Robe Pointes it's also much harder to rent those when needed, and they've more than made their investment back. They're also a nice addition to my collection of vintage effect lights!
Trussing:
I'll make a shameless plug for Prolyte Verto Truss here. I've got an ever-expanding inventory of this with another 5-figure purchase of it stuck somewhere in the supply chain backlog. Once you try the Verto Truss you won't want to go back to anything else! Yes, it's expensive upfront, but the labor cost savings with rapid assembly along with no need for tools makes it a great long-term investment. Not having to hammer truss pins alone is worth the cost!
Pyro:
I won't get into specific systems here, but for all-weather field use I've been happy with my DeWalt ToughSystem 2.0 tool boxes. They won't replace standard road cases or larger pelican boxes, but for keeping power tools, consumables, and other equipment safe and dry I have no complaints. My EZ-UP Eclipse 10x15 tent has also survived many storms bouncing around on a barge in the Atlantic, so I can't really ask for more than that. I destroyed my GoPro Fusion camera, but the GoPro Max that was sent to me free of charge as a replacement through the GoPro protection plan has been quite nice - gotta share my work with all 4 of my YouTube Subscribers! ;D
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Well it's busy enough the "Buy Cialis Guy" is back. Seriously I am not sure where what I (or the other Scott) said anything that would take away the merit.
Doug mentioned a new forum. It will still require policing but that probably is a good idea. The new forum should be non-audio professionals trying to accomplish a single task that they believe will solve all their audio issues. Seriously, the folks seeking help start in the LAB because they don't read the rules, then if the subject gets legs it is moved to the lounge. That's cool but the lounge is supposed to be for those working everything from the corner pub with the "dad" band (not sure where that came from but I just caught it and it is awesome) to the small sheds with the regional 80's and Disco tribute bands, ballrooms, lawnchair gigs et al. We know who we are. If you aren't filling 162ft of trailers every weekend then the lounge was supposed to be for us, growing our understanding as practitioners and business people. Certainly some people really get into digging into mysteries and talking folks through the process.
So indeed another forum may be the solution, this one clearly carrying out the original mandate of the lounge and then allowing the lounge to catch newcomer or "breathless" issues that peoples lives depend on!
Dad bands, Cargo shorts bands, lawn chair gigs. Ahh those can be fun afternoons. I’m still trying to figure out when cargo shorts went out of “style”. I might start clipping my key ring with a biner to my belt loop again, and just to piss of the fashion nay sayers also clip a nice coil of 550 cord on the other side.
Got my Spyderco Wave in my pocket, good length of 550 clipped to my waist. Solves a lot of problems if you need it.
Never heard “lawn chair gigs” before, good one!
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We do a little of everything (no pyro :o).
Nothing bigger than a medium street fair.
My target is small, high quality shows.
Everything fits in my 17' box truck. Honda Fit for smaller gigs.
Mains: DXR12, DSR112, SM96, SM80 depending on the needs.
Subs: DSR15, JTR C212, Th118.
Mons: DXR10, RCF NX12SMA.
Board: Soundcraft Performer 16 & 24 & stageboxes, UI24, misc utility mixers.
Mics: full compliment of Senny, plus misc others; e935 my go to vocal.
Wireless: 10 ch EW300/500
Modular stage (self built), pipe & drape.
Lighting: Chauvet Colorado Solo series, Luminair.
Video: BMD PCC4k and ATEM, PTZoptics.
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We do a little of everything (no pyro :o).
Nothing bigger than a medium street fair.
My target is small, high quality shows.
Everything fits in my 17' box truck. Honda Fit for smaller gigs.
Mains: DXR12, DSR112, SM96, SM80 depending on the needs.
Subs: DSR15, JTR C212, Th118.
Mons: DXR10, RCF NX12SMA.
Board: Soundcraft Performer 16 & 24 & stageboxes, UI24, misc utility mixers.
Mics: full compliment of Senny, plus misc others; e935 my go to vocal.
Wireless: 10 ch EW300/500
Modular stage (self built), pipe & drape.
Lighting: Chauvet Colorado Solo series, Luminair.
Video: BMD PCC4k and ATEM, PTZoptics.
How do you like the SM96 vs SM80?
And 17ft box truck... Lift or ramp? What make?
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How do you like the SM96 vs SM80?
And 17ft box truck... Lift or ramp? What make?
Ford ex-Uhaul. Ramp.
My stage lives in it permanently and saves me a ton of work for each deployment.
The first real test of the SM96 will be next week.
Have a 20+ show summer series coming up and we're going to fly them with a JTR cap212 sub.
Much testing and aligning to do.
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Hello all!
My portable rig:
1 Dell laptop - core I7, 16Gb RAM, 16" touchscreen
2 10" Android tablets
1 GL iNet WIFI router
2 Furman PL Plus DLC
1 Midas M32Live
1 Midas M-Air
2 Midas DL16
2 QSC KS118
4 QSC K12.2
2 EV ZLX12p
2 EV ZLX15p
1 Audix D6
1 Sennheiser MD421
6 Sennheiser e604
2 Sennheiser e609
4 Sennheiser e945
2 Shure SM58
2 Shure SM57
8 K&M tall boom
6 K&M short boom
2 Radial Pro DI
1 Radial ProD2
1 Radial ProAV2
2 poles for the QSC Ks
2 speaker stands (when I cant use the poles)
Several cat6 shielded Ethernet cables with ethercon connectors - various lengths
60 XLRs - 15', 20', 25' and 50'
4 FanTail to FanTail 4 ch snakes - 30' and 60'
1 100' 24 x 8 FanTail to Box snake (never used)
1 50a 240v distro with 2 50' 6-4 AC drops - various 240v plugs. (I rarely use it but it is super nice to have)
A bunch of 15a and 20a 120v quad and single AC drops - various lengths
Various small racks, cable trunks and gear bags
I have run the entire rig on a single 15a circuit but usually run 2.
It all fits very nicely in to a 2012 Toyota Sienna with the back seats removed. It leaves plenty of room for a pop-up tent, tarps, gig bag and the passenger seat for a helper. And it doesn't even block the rear window view!
When I cant use the M32Live or when it has to sit side stage, I use the the Dell and M32edit or Mixing station as FOH, I have a Bluetooth receiver to send break music from a tablet at FOH, a stereo wireless IEM set to send the cue mix back to FOH and a cheap wireless mic for talkback. I can run FOH entirely wireless - even AC if I have to - as long as the show isn't more than about 4 hours. I also have a small battery backup that can run it about an extra hour and I can always charge things at the stage during breaks.
I got the M-Air for small rooms where there isnt room for the M32Live and quickly got used to mixing strictly on glass - I really kinda like it now. Then I realized they make the M32C for the same price as the M-Air so I have ordered 1 which hopefully I'll have by the end of June. With that and the DL16s, I'll have 32 in by 16 out even for small shows.
I plan to put the 2 Furman units, the M32C, both DL16s, the IEM set, the wireless mic set, the Bluetooth receiver and a WIFI router in to a 12sp shallow rack on wheels and have everything pre-wired internally - set the speakers and monitors, set FOH, set the rack, mic, wire and gig!
I have a house gig and the club has the same speakers - mains and monitors, an X32 and 2 S16s but a somewhat different mic kit. I like the rig a lot but couldn't bring myself to buy Behringer gear so I went with the Midas. I have always been a big fan of Sennheiser mics and Radial DIs but you cant go wrong with Shure SM5x or the Audix D6 so I have those for folks who insist. Personally I prefer the MD421 on kick - I'd rather do the "kick scoop and spike" on the channel eq instead of having it fed to me from the mic. In the past I have used cheap mic stands and its always been a battle with them getting loose or broken so with this rig I "splurged" on the K&Ms and although they are super heavy, I am really pleased with them. A lot of the gear I use I bought because of advice from this forum and I have rarely been lead astray - thanks to all of you!
I wish I had this rig back in the 80s and 90s when I was on the road with a corpy cover band doing wedding receptions and corporate parties with 4 d15 scoops, 4 2-way d12/horn tops, GL2400, 16sp FX rack, amp racks, etc. Wedding planners hated me lol!
Today I do mostly small clubs up to maybe 250 punters or small outdoor festivals up to 500 or so - rock mostly. I plan to get 2 more KS118s which would step it up a bit as far as crowd size.
Have fun!
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When using my own equipment, it’s for small folk/acoustic events.
Midas M32R and Soundcraft Si Compact mixers.
QSC K Subs and K12.2s for FOH.
RCF ART 312As for monitors.
Shure SM58s, Sennheiser E835s and AKG D770s, but now now mainly using SE Electronics V7s for vocals.
SE electronics X1 and a couple of SE5s for acoustic instruments.
RED5 drum mics.
My own design and build of DIs with a high impedance input for piezo pickups.
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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.
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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
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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
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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.
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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
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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.
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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.
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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.
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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.
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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.
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I run two systems. The “small” system is (2) Fulcrum Acoustics FA22ac’s over (2) BassBoss SSP-218s.
How are you moving the SSP-218s? Bassboss shows them stacked horizontally on carts, but that won't work for the kinds of small venues I work at.
I'd like to know how you are transporting them to gigs.
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How are you moving the SSP-218s? Bassboss shows them stacked horizontally on carts, but that won't work for the kinds of small venues I work at.
I'd like to know how you are transporting them to gigs.
I use the dolly boards that BassBoss sells. I normally roll them stacked, then lift the top one off with a helper. I suppose you could make a dolly board that works for a single sub standing vertically.
I often use the subs tipped vertically. One of the handy things is that there is a pole socket in the end, as well as one in the middle, so it helps get the tops up a little higher.
I’ve taken them on the back of a truck bed, a 7x14’ trailer, rented lift gate trucks, etc.
If you are dealing with very small venues, look at their DJ18 sub. For typical powered tops, in a band setting, it’ll do quite nicely. Much smaller physically. Half the cost.
What I like about the BassBoss stuff is that it performs much better than MI gear and has the same drivers as touring grade gear. But, the boxes have MI features like pole sockets in handy places. They are assuming speaker on a stick or ground stack vs flown tops or high stands.
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I'm smol. (Compared to the serious players on here)
'large' system (not very):
Console:
Soundcraft Si Expression 1 with MADI/USB card
Soundcraft Mini Stagebox 16ch
Speakers:
4x Renkus Heinz TRAP JR/9
4x Renkus Heinz TRX121/9
4x Renkus Heinz TRC81/9HO
2x Community VBS112 with upgraded drivers (works well with a pair of TRX121 mains to fill in some low end but really not much volume)
2x EAW SB250zR (new additions)
I'm working on adding some subs and another pair of TRAP JR mains - converting to portable with factory handles in factory locations, then new paint.
Drivers in the VBS112 were not original when I bought them, and I replaced them with Denovo Audio Magnum-12, which were perfect for the boxes.
Renkus Heinz speakers are an odd choice but units that have been removed from installs can be had used for very little with some reconditioning necessary. I converted two TRX's to portable and added pole sockets to the other two which had handles already. It's worth the effort because they sound gorgeous. My high school had RH speakers in the auditorium, and they sounded great, so I have been partial to the brand.
Amps:
Crown XTi2002 x1
Crown XTi4002 x2
Crown XTi6002 x2 (for EAW subs)
System processing is running on the amp DSPs, but I may add a Driverack PA2 to help with delay of a larger system, with the amps running protective filters and limiters.
Mics: SM58's, SM57's, a couple Sennheiser, a couple PG series wireless, Audix F6, AKG small diaphragm condenser, Samson DK707 kit, D/I boxes from Whirlwind
Cables: 30 25' XLR for mics, 4 50' XLRs, 4 50' Speakon, 2 25' speakon, 2 short speakon, and bridged amp adapters. AC plug strips, 2x 8ch snakes for 16ch physical sends in addition to 16ch from stagebox = 32 inputs
Stands: 6x tall boom stands (+spares), 2x kick/amp stands, 1x weighted base pole stand, drum clips.
'smol' system:
2x Bose 402
2x Bose MB4
4x Bose 101-II hot spots
Yamaha MG12
1x Behringer NU1000DSP
1x Behringer NU3000DSP
One Behringer is running the Bose 402 processor curve.
I bought the 402s and MB4s as an experiment and they are a truckload of meh, but they're small, light, and full-ish range, and they look clean. The 'smol' system has done music at a party, quiet background music from a small acoustic duo, as well as a gig in a house for a local piano entertainer.
Other:
2x Community ENT206 with 'standle'
2x Community CPL23 with stand adapters
4x Bose B1 (may sell - were part of a 'tiny pa' concept)
My transportation is a 2-row SUV, a Ford Edge. Anything larger will be rented as necessary. I'm a shoestring operation but this is my hobby and everything is paid for. I also do sound for a newly planted porta-church that has an X32 console and a system with Apogee AE-5s along with AE-11 subs. The AE-5s are Crown Macro-Tech powered (the original classic ones) and the subs get two sides of a Powersoft M50Q.
Updated 3-31-24
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'smol' system:
2x Bose 402
2x Bose MB4
4x Bose 101 hot spots
One Behringer is running the Bose 402 processor curve.
I bought the 402s and MB4s as an experiment and they are a truckload of meh, but they're small, light, and full-ish range, and they look clean.
Bose processor curve??
Do you mean a standard 402 full range processor or 402C processor or did you develop your own setting?
I have four pairs of 402's that I use with their appropriate processors; two pairs are "corporate-clean" (my term) that I use for talking head / light background music or monitors for wedding-band use.
Joe Q Public recognize the Bose logo. I know, I know, but public perception does carry some weight.
I only use them when I know that they will work for the specific application.
The two other pairs I use as monitors for club work, yes............... club work.
I've toughened-up the club 402's: added Speakon ins/outs, purchased METAL grills (from Bose), and added grill foam.... The cabs look road-worn (scratches) and the grills have held up well.
For band monitor use I use a 402C controller in bi-amp mode running the mid/hi signal to a Crown xs4300 to the cabs.
They work really well for this application.
I have never used an MB4....but I have used 502BP subs via the 402C controller.
The 502's pair up well with the 402's.
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Bose processor curve??
Do you mean a standard 402 full range processor or 402C processor or did you develop your own setting?
I have four pairs of 402's that I use with their appropriate processors; two pairs are "corporate-clean" (my term) that I use for talking head / light background music or monitors for wedding-band use.
Joe Q Public recognize the Bose logo. I know, I know, but public perception does carry some weight.
I only use them when I know that they will work for the specific application.
The two other pairs I use as monitors for club work, yes............... club work.
I've toughened-up the club 402's: added Speakon ins/outs, purchased METAL grills (from Bose), and added grill foam.... The cabs look road-worn (scratches) and the grills have held up well.
For band monitor use I use a 402C controller in bi-amp mode running the mid/hi signal to a Crown xs4300 to the cabs.
They work really well for this application.
I have never used an MB4....but I have used 502BP subs via the 402C controller.
The 502's pair up well with the 402's.
I developed my own setting after researching the 402 curve; I used an OmniMic measurement setup to fine-tune for flatness, then I added a bit of top end to compensate for the midrangey-ness of the 4" drivers, which are the red-cone ones used in the 402-II instead of the black-cone ones. I have the Community ENT206 columns also, and they are more 'hi-fi' and extended on top than the 402; they just need a little taming of a treble breakup peak that's in the 15-20kHz range that makes them sound too bright.
The MB4 is a curiosity. It makes enough bass for the 402 or the MA12 that it was designed to pair with, and it can thump and play low notes, but it is nowhere near the sub that the 502 is. The MB4 has a 'wooly' sound I can recognize. Subjectively it plays a little deeper than the B1, although the B1 plays surprisingly deep for its size and weight. I used B1s with ENT206s for background music and announcements as part of a technology showcase event, with the B1s hiding behind the pipe-and-drape and the ENT206s peeking through at the corners being almost invisible.
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Bose processor curve??
Do you mean a standard 402 full range processor or 402C processor or did you develop your own setting?
I have four pairs of 402's that I use with their appropriate processors; two pairs are "corporate-clean" (my term) that I use for talking head / light background music or monitors for wedding-band use.
Joe Q Public recognize the Bose logo. I know, I know, but public perception does carry some weight.
I only use them when I know that they will work for the specific application.
The two other pairs I use as monitors for club work, yes............... club work.
I've toughened-up the club 402's: added Speakon ins/outs, purchased METAL grills (from Bose), and added grill foam.... The cabs look road-worn (scratches) and the grills have held up well.
For band monitor use I use a 402C controller in bi-amp mode running the mid/hi signal to a Crown xs4300 to the cabs.
They work really well for this application.
I have never used an MB4....but I have used 502BP subs via the 402C controller.
The 502's pair up well with the 402's.
I am not the only one who keeps some gear corporate clean, including wireless, DPA headsets, monitors (with cases that cost more than the monitors) confidence monitors both audio and video, cased up KS122's and Yamaha DZR 10's and 2 subs.
It is good for business.
I don't know much about the Bose, the 15" acoustimass looks hard to transport and the 18 is expensive. I started with I would rather have the Turbosourd Inspire, they range from good to great.
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Small operators are listing their inventory, I am not going to do it down to the mics but let me give it a shot. I recently got diagnosed with end stage renal failure. Dialysis is keeping me alive. Hoping for a transplant. I am technically not working. I do some booking and get stage plots and pick lists together, that's about it. Putting techs with our gear. Just enough to keep the inventory alive and cover the warehouse (1/3 of 10,000 sq. ft.) Hopefully I will get the transplant and can go back to work.
Anyway, when this my infirmity first started I had a loan. My warehouse mate and I share a tow motor, have the same line array, subs and amps and work well together. He was kind enough to purchase my FBT Muse dual 10" medium format line array, flyware, stacking brackets, carts etc. along with 6 Meyer dual 18 subs with Lab Gruppen power amps and Meyer processors. He also purchased my lifts. This allowed me to pay off the loan and I refer the larger business to him. Lastly I sold him my Stageright decks, braces and heads. He had identical. I can of course rent the stage too.
My current inventory:
Powered Speakers:
4 DRS-112
2-KW-122
4 - KW-122 in dual ATA cases for corporate/wedding
2-KW-153
Club Rig
2 - SRX-812
2 - STX-818S
Power Rack with M32C, DL32, 2 channels Shure Wireless (SLX) 2 bridged QSX PL236 for subs one PL236 for mains
I will be adding 4 channels of amplification and passive 12" coax probably yamaha to this rig
Fixed array:
6 -JBL VRX932LA - In Dual ATA Cases
4 - STX-828S (dual 18's)
Flyware and Poleware
Power rack - Bridged Yamaha P7000 for subs and speakers, 2xx Volt Distro for 110 IEC's are in rack
Powered Subs -
2 - SRX-818SP - Generally go out with the Yamaha
6 - KW181
Monitors:
8 - Alto Powered 12" Coax
8 - HPR121
2 - HPR 151
3 - DZR-10 (used for Wedding Ceremonies too)
1 - Misc. Poles and Stands
Mixers
1 - M32
2 - M32X
3 - DL32
1 - DL8
1 - M32R
1 - XR18
Lighting -
1 - ETC Congo (For Sale)
1 - Chauvet ShowXpress with 2 Universe USB interface
12 - Battery Powered Chauvet Uplights with wireless to USB interface
6 - Chauvet wireless truss warmers
2 - wired truss warmers
8 - Blizzard Hotbox
8 - High Output PAR's (in case)
6 - Blizzard Weather Systems
3 - Blizzard foot pedals for Weather system
1 - Misc. Poles and stands
4 - Small Chinese 110W movers in case
4 - 5R Charpie's
4 - Mac Aura Clones in cases
16 - Chauvet Wireless LED uplight strips
8 - Par's on a light piece of truss
20 - little pars
Pipe and Drape -
52 - 16' tall rose brand heavy velour fire tested black drape
Crossmembers and uprights for drape
Steel Bases, pins and cart
Truss -
14 pieces of 4 leg Global of varying lenghts
4 - Universal Corners
1 - Podium
6 - 4 ft. steel bases
Sand Bags -
Large Trunk full of black loaded sand bags
Video -
2 - Pro Camcorders with SDI out
2 - PTZ cameras
8 - Guestimate, SDI to HDI converters
2 - Decimators
1 - Black Magic ATEM switcher with console in case
2 - 8k Christie Projectors in case with accessories
2 - 5k Christie Projectors in case with accessories
2 - Short throw glass
4 - Med. throw glass
2- Long Throw Glass
6 - Break out rook projectors and small screens
4 - 16' Fast folds with front and rear screens and black dress kits
2 - 12' Fast Folks with front and rear screens and black dress kits
4 - Med. size Fast folks front screen, black and blue dress kits
Small Spider box, tons of edison and twist lock SOOW
cables -
Tons of XLR
Tons of IEC
Tons of BNC
A good supply of DMX/XLR data
Various XLR snakes
2 tail spit snake 32 channel with lifts
Stage snakes
Tons of K&M stands
Cases-
2 - 1/4 pack HD
1 - 1/2 pack HD
2 - 1/2 pack light
4 - cubes light
2 - 16U
2 - 12U
1 - 8U
Various small boxes for mixers, ATEM and such
1 - Heavy Theater style case
2 - 1/4 pack talls medium duty
4 - Small cases
4 - Trade show (gold bags style) cylinders for mic stands
Vehicles -
1 - Astro extended cargo with divider
Shared Vehicles with Warehouse mate -
1 - Full size Chevy with divider
1 - 12' with lift box, Isuzu gas engine cab
1 - 10' e350 with ramp gas
Staging:
8 - 4x8 Wenger 18"
4 - 4x6 Wenger 18"
Wireless -
5 - BLX individual cases shared with warehouse mate
4 - QLX-D with handhelds (SE V 7 and Shure capsules)
Mics - Tons of SM58/57 e604/e609/e902/e935 a bunch of beta, clips and more specialty mics
To me this is enough to do 3 small gigs comfortably, 1 medium and 1 decent size with the VRX and maybe some fills. Surprises don't catch me short gear. We can do music, weddings and corporate.
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I am not the only one who keeps some gear corporate clean, including wireless, DPA headsets, monitors (with cases that cost more than the monitors) confidence monitors both audio and video, cased up KS122's and Yamaha DZR 10's and 2 subs.
It is good for business.
If you're going to do corporate work, it's not just good for business, it's pretty much critical. If you're going to do do bar/club work, it's pretty much impossible to use the same gear and keep it ready for corporate gigs.
If you're just starting out, your gear is new and shiny, but as it gets used, it will end up not corporate friendly. When that happens, buy new corporate gear and save it for that, using the older gear for the non demanding gigs. Yeah, it's challenging to leave the new shiny stuff at home, but saving it for corporate work will make you more money.
Once the corp gear starts to wear, move it down to club duty and replace it, selling out the club stuff.
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I updated this year so I ill update here
X32R Mixer
S16 Stage Box
Speakers
2 Yamaha DZR12
4 Yamaha DZR15XLF
5 Turbosound IQ10B
Dis
3 Radial Pro DI
1 Radial Pro Stereo DI
2 Radial JDI
1 Radial J48
1 Radial JDX
Plus a few cheapies...
Mics
SM58's, 57s, as well as Beta versions, Sennheiser 835s, 945s, Beyerdynamic TG D71, Sen 905, Shure PGA56, Senheiser E609s,
Sennheiser ew100 g4 with 835 capsule Wireless
4 Yorkville LED4XP Lightbars
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I updated this year so I ill update here
X32R Mixer
S16 Stage Box
Speakers
2 Yamaha DZR12
4 Yamaha DZR15XLF
5 Turbosound IQ10B
Dis
3 Radial Pro DI
1 Radial Pro Stereo DI
2 Radial JDI
1 Radial J48
1 Radial JDX
Plus a few cheapies...
Mics
SM58's, 57s, as well as Beta versions, Sennheiser 835s, 945s, Beyerdynamic TG D71, Sen 905, Shure PGA56, Senheiser E609s,
Sennheiser ew100 g4 with 835 capsule Wireless
4 Yorkville LED4XP Lightbars
Grab a couple of SE v2's for your kit, everyone needs a few. They are an awesome value for $100.00. Get the cool Billy Gibbons chrome ones for $149.00! Seriously a really well performing microphone.
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My turn.
Weekend warrior doing mostly clubs, partys, beer tents, and smaller festivals.
Mixers: x32 Compact w/sd16 + sd8
X18
Ui24r
Speakers: 2 SRX 725
2 DZR 12
2 QSC e118sw 1 e218sw
4 PRX812P
2 EV zlx12p
3 Peavey 12m
Power. Plx3402 and Behringer nx6000
Mics: sm58/b, 57, 609, beta 52, audix d2/4 (toms)
AT 1000 sdc.........
Dis. Radial and Livewire
Enough stands, cables, power to make it all happen.
Lights: My wife is in charge of lights, our shows can be seen in satellite images.
All this is transported by a Toyota tacoma pulling a 5x8 trailer.
Speakers are mix and match depending on coverage/volume needs.
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Grab a couple of SE v2's for your kit, everyone needs a few. They are an awesome value for $100.00. Get the cool Billy Gibbons chrome ones for $149.00! Seriously a really well performing microphone.
You know my vocal mics come out maybe twice a year, almost everyone I work with brings their own, I pretty much use my mics on Amps, and Drums, thats about it.
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I semi-retired to raise a family back in the early 2000s. I still work for the sound company I started out with back in the 80s, they are mostly plays, graduations and religious services these days, so I bought some stuff for fun, weekend warrior, hobbyist, whatever you want to call me.
Mixers:
Midas M32C w/DL16 (2)
Behringer XR18
Behringer Flow 8
Mains:
RCF NXL 24A mk2 (2)
Yamaha DZR12 (2)
Subs:
JTR 212 Captivator (2)
Monitors:
Yamaha DHR12M (4)
Mics:
assortment of Shure, Sennheiser, Neumann & Telefunken
DIs:
Radial
Lights:
assortment of Chauvet DJ
Light Boards:
ADJ WMX1 (Wolfmix)
Enough racks, stands, cables, bags, adapters and accessories to put it all together.
Transportation:
Ram Tradesman Cargo Van
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Small system:
Yamaha DXR12 mains
DXS15 subs
DXR10 mons
Mid system:
Yamaha DSR112 mains
JTR C212pro sub
'Big" system:
Danley SM80 or SM96 mains
SH75 outfills
SHmini front fills
TH118 subs
RCF NXSMA 10 and 12 mons
DNA20k4, DNA10k4 amps
Soundcraft Performer 16 and 24 mixer w/stagebox
UI24
Misc smaller analog mixers
Lots of Senny mics, as well as a variety of others
10ch Senny wireless
Radial and Countryman DIs
Lighting:
Chauvet Colorado Solo series and Colordash
Freedom par uplights
Back line:
DW drum kit
Fender Twin, Deluxe, Princeton
David Eden bass amp and 4x10 speaker
Nord Stage 2, Roland FP60x, DX7, Juno106
Self built staging
Pipe and drape
Video:
Blackmagic PCC4k and PCC6k
Various lenses
Zhiyun gimbal
BMD ATEM mini extreme iso w/custom full streaming system in road case
Epiphan Pearl Mini
10'x7' front and rear projection screens
6k Christie 1080 projector
Ex Uhaul ford box truck
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I was in a band full time from 1997 to 2001 and we jointly owned our PA and I ran sound from the drum kit. When we disbanded I bought all of the gear. A sorry collection. Mackie 1604, 4 Yamaha SM15Vs, couple of Crown amps, some cheap 31-band eqs. Since then I’ve been selling the weakest link in the chain and buying its replacement, over and over again. Now I’ve got a pretty nice system for a guy with a live sound hobby. I run sound for the occasional band but mostly I volunteer my time and the gear for local events in the town I live in and the schools my kids attend.
Consoles:
1 SQ5 with 2 DX168s
3 Yamaha MG10XU for smaller stuff
Speakers:
2 Martin Audio CDDLive!15 tops
8 EV PXM 12MP monitors or for other utility solutions
2 QSC K8.2
Subs:
2 Martin Audio SXP218
1 QSC KS212C for small stuff or as a drum monitor paired with a PXM 12MP
Wired mics:
Shure SM58 (8), SM57 (4), B58 (4), B57 (4), B52 (1), B87A (3), B91 (2)
Beyer Dynamics M201 (2)
Senn 604 (6), 609 (2)
Rode NT5 (4)
Nueman KMS 105 (1)
Audio D2 (2), D4 (1), D6 (1), OM5 (1), OM7 (1)
Wireless:
4 Shure QLXD4 receivers
4 Hand held transmitters with 2 SM58 & 2 B58 capsules
1 Body pack transmitter with a headset mic
DI:
2 Countryman
2 Radial JDI
2 Radial J48
1 RNDI
2 Radial SB-5
1 Radial JDI Duplex
Speaker and mic stands:
All K&M
Lots of cable: xlr, cat5e, trs, and power
No lighting
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Well, I'll chime in...better late than never.... ;)
Another (every other?) weekend warrior - mostly smaller summer park and block festivals, a handful of speaking gigs, weddings & the odd family yard party....not very sophisticated...winding things down. Started sound to support my bass playing...playing days are (almost) over.. the rest is for, well fun and $ as long as I can continue to physically move this stuff...key consideration in the 'older-post retirement' age ;D
Mixers: Si Impact
Si Performer + MSB32 Stagebox
Ui24r
Pioneer DDJ-SR2
Speakers 2 SRX812P
4 PRX712
2 PRX612m
2 SRX712m
Subs: 2 SRX718s
2 SRX828sp
LS Mgmt: DBX Venue 360
Amps: QSC Powerlights (340/380)
QSC RMX 4050HD
Mics: Shure (sm57/sm58)
Senn (e835/e935)
Audix DP Drum Kit
Senn EW Wireless
DI's. Radials, EWI's, Rolls, Peavey
Stands: Ultimate for Speakers
K&M & Atlas for Mics
Gator for Drum/Amps
Backline: Aguilar TH350/Aguilar SL12 Cab
SWR RedHead & Goliath III 4x12 Cab
Fender Princeton Reverb
Truss & Lighting: Blizzard Lighting Trees & GT DL3800 for Triangle and Box truss units
Chauvet & Blizzard Lighting Cans, Bars, Moving Heads & Atmospherics
Blizzard Lighting Control surfaces, Chauvet ShowExpress
Cables & Crap: too much to list (Hosa, EWI, Rapco, Custom, etc. etc.)
Cases: Road Ready, EWI, Gator