Sound system setup for the one:40 band at an Oktoberfest event using an A&H QU-16 - Event Video 52

[@erichagler7842]

A lot of people don't relies how much work a sound engineer has, hours before the gig and hours after the gig to get all the equipment set up and tear down at the end of the night . Just a small system like this one 16 or 24 channel board is a lot of work after set up you have sound check every thing to make sure all of it working ... cuddles to all sound engineers out there ...

[@the1version422]

First in, last out, and often the unsung hero.

[@stageleftaudio]

Thank you for your comment!

[@speakerwala_babumoshai]

Someone Give this person a medal

[@Kyp031]

Thought they just wondered off and drank beer while your mic is off. Seriously though, unsung heroes

[@SeanONeill13]

*realize.

[@dalegirard8453]

I did setup for sound by myself lot of work nice u have help glad u know what ur doing

[@LIXOSonidoyDiscos]

Excellent band, excellent job Bob and KC. Congratulations! Still rockin' Stage Left is great production company! 😊😊

[@stageleftaudio]

Thanks for your great comment!

[@bretthibbs6083]

I'm glad that you are safe and sound from hurricane Helene and hopefully you didn't get too much damage from it.

[@stageleftaudio]

Thank you!

[@Jimsalos]

Great video, you guys worked hard!

[@beckwith5880]

looks like another amazing event, so sorry i had to miss it. great work y'all

[@stageleftaudio]

Thank you sir!

[@rajeshedupuganti7394]

HAI SIR UR DOING HARD WORK AND ENJOY THE WORK I SEE YOUR ALL VIDEOS TQ SO MUCH FOR UPLODING VIDEOS TQ ONES

[@stageleftaudio]

Thank you for watching!

[@djrickysmith]

U2 covering the cure.. love it😂😂😂.. great job as always

[@charlesparks2501]

@djrickysmith one:40 does 2 sets of U2 and a variety set including a 4 song block of The Cure, fun stuff!

[@xtyentertain4057]

Great job 😅. It's a very hard job, but you guys made it happen. I do dj too. I use power speakers for all now. Thanks for sharing.

[@stageleftaudio]

Thank you for your comment.

[@thomas_ger4098]

again a very nice vid. thanks for sharing

[@stageleftaudio]

Thanks again!

[@sebasthydrummer1526]

É maravilhoso o seu sistema de som

[@stageleftaudio]

Muito obrigado

[@nelsonchurquina]

exelente trabajoo !!!!! 😎👍

[@chrisclose7793]

i think us sound engineers are the unsung heros of events , i just did sound for a local community event with my trusty EAW kf850 SB850 and Allen and heath sq7 and crown amps and people complimented the sound quality

[@stageleftaudio]

Very true. Nice gear you have.

[@Clarencechapman]

NO ONE KNOWS WHAT YOU DO, UNTIL YOU DON'T DO IT! Have that up at the sound board area of our church.

[@priscilas24]

Guy those sets they go crazy

[@oile.kennedy7551]

Awesome work. I like it.

[@Empowermentcenteroficial]

Im new in this . I think it was an amazing sound . Congrat.....

[@stageleftaudio]

Thank you.

[@atlargegroupllc2694]

Another great job Bob.

[@Dmitrii-z1m]

22:49 What the song is this? Does anybody recognize it? It sounds so familiar but I can't hear the lyrics clearly here...

[@stageleftaudio]

Song by U2: "Stuck in a moment you can't get out of it"

[@Dmitrii-z1m]

​@@stageleftaudio Thanks for the hint! And for sharing your process as well!

[@charlesparks2501]

Awesome job, Bob and KC! Thanks for all you do!

[@stageleftaudio]

Thank you Charlie! We had a great time working your show!

[@ОлегЛазарев-п8ж]

Good job!!!!!

[@gitnisul1188]

wow beautyful sound Good job ✋

[@stageleftaudio]

Thanks for watching!

[@bks252]

So a couple of questions if you don’t mind? I’m NOT a sound engineer or sound expert by any means. I am a musician that’s been in bands for most of my life and I’m 65 now. My band has a modest size sound system and our bass player handles most of the mixing as unfortunately we don’t have a dedicated sound guy. They are hard to find. So finally I’ll get to my questions. Why do use passive speakers instead of powered ones? We also use passive speakers and monitors and some of us have in ears. It seems most bands I see around town are using powered speakers. They are obviously more expensive and that’s the main reason I haven’t started buying them. I also don’t know if you can mix powered and non powered together. I had thought about starting with new subs and then add the mains later. Is that possible and how do I hook them up together? Do you work towards having unity gain with all of your inputs? It seems there are different schools of thought. Are you running all of your stage mics (vocal and instrument) to one stage box or do you have them split between front of stage (vocals, monitors) and rear of stage (drums and instruments) and then combine them with the stage box. Sorry for so many questions and great video. Thank you!

[@stageleftaudio]

Good questions. To start with, we are a sound provider and we experience various stage setups and work with many different performers and bands in various types of venues. Therefore, our decision to use a particular type of speaker over another one is to support the service we provide. Bands that have their own PA (like yours) will most likely not expose their speakers to the same usage as a sound provider. With that in mind, we use passive speakers mostly for monitors. Passive speakers are relatively affordable (compared to powered speakers). Monitor speakers (in general) take a bit more abuse and use than FOH speakers, which is why we use passive. For monitor speakers, drinks get spilled on them... feet are placed on them by guitarists (to help support their guitar on their leg)... vocalists will sometimes place their feet on them. They are sometimes accidentally kicked (not too often)... they take the abuse of weather during outdoor events much more than FOH speakers. Also, depending on the event, monitor speakers can be picked up and moved around alot by us and by band members to support different stage setups at an event. All of this activity and usage, may be too much for powered speakers. Powered speakers are convenient and can perform very well, however, the cost of convenience comes with a price. As well, having additional cables on stage (power cables and sometimes network cables) to support powered monitor speakers add more time for a setup and introduce more wire(s) clutter to the stage. For us, it was much more cost effective to use passive speakers with external amplifiers. If one of our passive speakers gets destroyed, it's much cheaper to replace. For our FOH speakers (mid/high only - "tops"), we use all powered. FOH speakers are most always out of the way of the stage and they do not experience the same potential for physical use and stage accidents; therefore, powered makes sense. Most all of our subs are passive (for larger events), but we do use a single powered 18" sub for smaller events. Yes, powered and non-powered speakers can be mixed. This is very common. If you will be running passive speakers (tops with separate subs), you will need to use a crossover. If you will be running all powered speakers, tops and separate sub(s), use the built-in crossover on the sub to connect them. For stage setups, most of the time we use one snake on either SL or SR. All mics/instruments get connected to the same snake. Sometimes we will use small drop snakes (8 channel snakes) at the opposite side of the stage of the main snake. For digital snake setups, we use only one snake at either SL or SR. All mics/instruments are connected to the same snake. The instrument/mic setups you referenced (separate snakes for certain inputs), are mostly found in fixed installations. Keep the inputs simplified! Here's a video we did awhile ago talking about powered and non-powered speakers we use: kzbin.info/www/bejne/bpi6c2eGjLOqnc0 Regarding mixing at unity, here is video I did explaining why mixing at unity is not the best way: kzbin.info/www/bejne/q3OWZ39_qchsmdk Please remember, my responses are from a sound provider's point of view! Hope this helps.

[@bks252]

@ thank you so much for taking your time to reply back and explain. Great info. I will definitely watch the video you included. Again, thank you so much!

[@TezzaRES]

Have you considered using a switched mic for TB? Would save a lot of going back and forth between layers

[@stageleftaudio]

Yes. Many years ago, I used a switched mic. The switch was always noisy when used (a lot of clicks/crackling), and eventually the switch stopped working after only about 3 years (resulting in intermittent audio with the mic). However, the mic I was using back then was a very cheap mic I used entirely for TB! I'm sure the switches are much better now on some decent mics. I have thought about going back to a switched mic, but at the moment, I don't use TB too much anymore, may be a few times a year. For larger events, we use comms to communicate with the stage (stage-manager, etc...) and have them communicate with the artists.

[@napynap]

I noticed you had "Trax" listed for channel 12. If that is backing audio tracks from the band, how do you connect them on stage? I recently added a Rolls bluetooth audio device to do this when multiple/unknown acts end up performing to trax. It's made it less hectic trying to connect to their phones.

[@stageleftaudio]

Yes, that was for backing tracks. The band uses a playback device on stage which they have full control over. The playback device is treated as another instrument and uses an XLR for connectivity. In the near future, we will have a couple of bluetooth options for connectivity; to this date, we have never had a request for bluetooth.

[@ikehebube7153]

How do you crossover your subs and Main PA. can you do a video on your PA tuning

[@stageleftaudio]

For this event, we are using a DBX Driverack 260 for the crossover. We send the mid/high frequencies through return #2, then use an XLR splitter to connect the FOH top speakers. The low frequencies are sent through return #1 and connect directly to the Crown MA5000i amplifier, which is used to drive the sub. Our PA tuning is adjusted for most every event; we do not use the same configuration each time. This is to accommodate the choice of speakers we use, inside/outside show, type of music. We do have some older videos covering how a crossover (analog crossover) works.

[@MichaelNatrin]

Great video!

[@timoterror788]

You should come to Germany to the "Rheinischer Karneval". The Bands get about 5 minutes to set up their equipment - THAT IS FAST !!

[@stageleftaudio]

That is too fast!

[@MLSD01]

Awsome video ..... ❤❤❤❤❤

[@stageleftaudio]

Thank you!

[@stanwood94]

Great job with the set-up I have a set-up similar to yours but I usually have to bring more channels for a small show sometimes 48 channels the problem is I supply all my production sound and lighting and a lot of hours making sure everything is running properly and mixing the show and tear down but the organizer only wants to pay $500 a day that I end up giving them less subs and powered tops and I charge to bring in everything was $1,250 a day is it too much or should I charge them more need some pin points Thanks

[@stageleftaudio]

Thanks for your comment. Good question. There's a lot that can go on with determining pricing (far too much information than what I could add to this response). With that said, here are some points to consider. 1. Customers (or potential customers) will have a budget in mind for their event. If you wish to provide a service (or least bid for the service), you may need to adjust the equipment you will provide for their event... as well as your expectations of what you think they may need for the event. 2. Have other equipment available for smaller events. 3. Customers usually do not care what type of console would be used for their event. All they care about (and I agree with the customer), is can someone provide the service I need for the budget I have... with whatever equipment will be utilized. 4. The amount of time you put in to work an event (setting up, tearing down, ensuring all gear works, etc...) should be irrelevant to the customer. The amount of time you put into all that work is all part of the "service", and most customers do not care (nor should they) how much work you do to provide the service. 5. Providing sound is a service based industry. A lot of services are based on customer budgets. We have several types of consoles, speakers, snakes (analog/digital)... all of which is available for various sized events. When we bid on events, our quotes are for equipment sized for that particular event based on the needs (and budget) of the customer. Hope this will get you thinking.

[@napynap]

@@stageleftaudio I was billing one customer by the hour, and they got nervous that after the year I could be considered "an employee" by the state (CA). So I changed to half day / full day rate.

[@austress3817]

Sir we want to see the live sound and live mix

[@TL-wu4id]

Why would you send the microphone signal to the subwoofers 🤔?

[@stageleftaudio]

Because there are low frequencies present in vocals. Without the lower frequencies, vocals can sound narrow/thin.

[@georgesnow]

Nice decision having the digital console and analog multi

[@stageleftaudio]

Thanks. Most of our shows are configured that way. We will use a digital snake solution, but only for certain events.

[@MrScumbag1010]

I setup sound for one band, that cured me, that job sucks, my hat goes off to you, for doing this job, a lot of Bull work, that A&H board is killer!! I had a day job anyway so i did not need to run sound. But it is not easy, and would never ever do it for a living.

[@charly821]

Good job 👍

[@ikehebube7153]

Thank for the video

[@stageleftaudio]

You're welcome.

[@pinoysacanada2023]

Hello sir, what small foorprint sub can you recommend of a good compromise with power, weight, size and prize? Maybe a 15 inch? I dont have a big van. Thank u!

[@stageleftaudio]

We use a single RCF 18" sub for some events that does exceptionally well. I have mixed on some gear that has used EV 15" and 18" subs; both of these worked really well.

[@djemotuo531]

thus great work...looking forward to work with u

[@arnellumagbas3586]

Quality output👍

[@diiegopc]

23:46 is that an special sun protection?

[@stageleftaudio]

Yes.

[@basspumpe2662]

hey, nice day, good sound, have fun & sun

[@TyB1280]

24:26 - The guy in the polo says "We're gonna go.... It's too loud". Lol, See ya!

[@D4NS80]

Right in front of the PA, what was he expecting lol.

[@jasonlajuene2036]

HOW do you AVOID trips and snags with your power lines ????

[@stageleftaudio]

All lines are kept out of the way and lay flat as possible on the ground. We run a yellow power cord for FOH. The yellow color makes the cord easily visible... therefore, greatly reducing trips.

[@charlesharris7485]

How much would a setup like that cost at a festival

[@stageleftaudio]

There are many variables involved with service rates. Unfortunately, we are unable to discuss service rates on public forums.

[@CDP135Z]

@@stageleftaudioWhat kind of forum would you need to be in to throw out some ballpark figures? Back when I was doing this kind of work I always felt like I was giving my hard work away. I’m just curious to hear some ballpark figures really.

[@stageleftaudio]

We cannot discuss service rates. We meet directly with customers to determine their needs and will determine a service rate based on their needs. Providing sound (as a service) can be a lot of work and a lot of hours. And as such, it's important to ensure an affordable service to the demographics that are requesting a service. There's a lot of variables involved with setting a service rate. Economics vary greatly across the US (and the world).

[@Mersuharrastaja]

Does Allen & Heath be better quolity mixers then Presonus?

[@georgesnow]

it is easier to use in the bright light

[@stageleftaudio]

Each mixer has their strengths and weaknesses. For this event, the A&H was easier to use in bright light (as was just commented) compared to the Presonus. We like both consoles.

[@dustinthiessen]

both companies make entry level consoles, as you see here with the QU, however, Allen & Heath actually do professional consoles as well, once you get up into the SQ, Avantis, and dLive systems. Presonus don't do anything like that.

[@stageleftaudio]

Of the consoles I've used, the Presonus has the best workflow. If I were to move forward with a larger scale console, my preference would be DiGiCo.

[@EVALOZIG]

good job sir👍

[@stageleftaudio]

Thank you for watching.

[@Mydjkj]

Do you prefer the Tannoys over the JBL?

[@stageleftaudio]

In general, yes. The JBL cabinets do a better job producing a "punch", though they do not reproduce the lower-frequencies as good as the Tannoy's. As well, the Tannoy's are more efficient. The JBL's are still good cabinets and we plan on still using them at some events.

[@Mydjkj]

@@stageleftaudio I've seen a lot of sound companies have the Tannoy, and I've seen them in auction. I just never heard one knowingly. Thanks for the reply back.

[@codedreamfullstuckdevelope8096]

Hi sir how are you why you are not upload videos current time I am learning PA system. From Sri Lanka ❤❤❤

[@codedreamfullstuckdevelope8096]

Sir one doubt mid frequency Knob full cut while sound is better or knob boost while sound is better

[@stageleftaudio]

Always cut the frequency first to make the sound better. Boosting a frequency should be last, only if the frequency cut did not work.

[@codedreamfullstuckdevelope8096]

@@stageleftaudio Thank you sir always respect you❤❤❤

[@codedreamfullstuckdevelope8096]

Sir one doubt must need a pre amp like Behringer mx822 pro for best sound. Connected with analog mixer

[@TheDude1764]

So why use an outboard Driverack instead of using the digital console/matrices as your system controller? Thanks for the video and ramp recommendation!

[@stageleftaudio]

Good question. Here's my 2 cents on the trend of using consoles as a xover. Pertaining to the crossover function of the Driverack... the DR-260 is designed to function as an actual crossover. It is simple to use, is effective, and can be easily tuned on-the-fly during an event. It allows for these choices of which filters to use for HP / LP xover filtering - (from the 260 manual): * BS (Bessel) with a slope of 6, 12, 18, or 24 dB/Octave. * BW (Butterworth ) with a slope of 6, 12, 18, or 24 dB/Octave. * LR (Linkwitz-Riley) with a slope of 12, 24, 36, or 48 dB/Octave. The choice of these settings is what allows the PA to function as a sound system. The 260 can also be used for aux-fed subs (which we do not do) and cardioid setups (which we do use). As of this writing, I'm not aware of any console (at least the sub $10K consoles) that provides this level of professional control and sound quality over a main PA. Using a console as a crossover (when it is not designed for that purpose), usually yields unprofessional results and adds unnecessary complexity to a basic (i.e. 2-way) setup, as well, it consumes outputs on the console. However, there may be some people who are ok with using their consoles as a crossover. Ultimately, it's what the person thinks will work best for their setup. We will never use our consoles as crossovers.

[@TheDude1764]

@@stageleftaudio I appreciate the detailed reply! I'm always more interested in "why" people choose things rather than "what" they choose. I don't want to stray into the 'Aux-fed sub' controversy...🤣...but as for the various crossover filters and slope choices: The M32 (X32) series of mixers offer all (or all least nearly all) of these choices on the 6 Matrices. I've used them as crossovers for several events (indoors and out) and was very satisfied with the system results. The matrix channels can also have phase inverted so that along with output routing delay makes cardioid sub arrays very simple to create. I haven't gotten to know all of the A & H boards intimately yet--(just started playing with them in the last 18 months or so) but I would be shocked if they didn't have these filter options available somewhere in the library. I agree that a dedicated piece of hardware is nice to have to remove the 'thinking' part of the equation but I really hate lugging outboard racks for FOH to temp stage locations. (my back is old and there's not much room in my van either!!). Thanks for the great channel and your responsiveness to questions. Lots of great information here!

[@stageleftaudio]

Good to see the M32 has addressed the filter problem! Thanks for your great reply!

[@TheDude1764]

@@stageleftaudio Yes! The v4 firmware made the M32 a ‘full function’ piece of kit for me. It and the X32s I have aren’t the most robust pieces of gear I’ve driven…but I don’t do tons of shows anymore. (And the gear doesn’t get beat up as badly!) So many people have come up with 3rd party apps for tablet control and Theater Show Control that it’s become hard to leave it behind! (That’s why I’ve been dragging my feet on the Allen & Heath consoles.) When I try and walk on from the Behringer ecosystem, they pull me back in!!!🤣😂

[@stageleftaudio]

Nice! You have a good reason to stick with Behringer! I'm hoping other console manufacturers will address the crossover issue!!

[@jokerswildmusic4882]

Great content as always. Do you by chance know where I could find a ramp just like you have for the van? Thanks in advance

[@stageleftaudio]

Thanks for the comment. Here's the ramp we use: ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742 -- At the time I got the ramp, they could only be purchased through EZAccess. I'm not sure if that is still the case.

[@jokerswildmusic4882]

@@stageleftaudio Really appreciate it! Thanks for taking the time to help.

[@noahman27]

Thanks for filming all this! I learned some stuff! Wondering if the one double 18 sub was enough? (I know there's limitations like budget, manpower, and space in the van). Also, I always wonder how you safely run cable from the stage to the FOH so attendees will not trip and fall. How do you guys handle that?

[@stageleftaudio]

Thanks for your comment. Yes, the double 18 was more than enough for this event; in fact during sound-check, we had to bring down the kick-drum and bass due to the volume level. Also, with the double 18 sitting in the center, this provided coverage over the entire listening area. Good question on the cable runs between the stage and FOH. On hard surfaces (i.e. parking lots, exhibition halls, etc...), we use either rubber cable covers (with black/yellow tape for visibility), or heavy rubber cable conduits (black w/yellow covers). For outdoor events (i.e. in this video), we run a yellow power cable next to the snake cable. It's the yellow power cable that provides the visibility for safety.

[@paratyshow]

👍✅ I get some good ideas from every one of your videos, tks👏

[@stageleftaudio]

Happy to hear to that!

[@juanrios9977]

I like the ramp what brand is and where i can find it?

[@stageleftaudio]

It is from a company called EZ-Access. ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742

[@juanrios9977]

@@stageleftaudio How many feet does the one you use have?

[@stageleftaudio]

Ours is 8ft.

[@KpTheFth]

hello there, just interesting, is it not simple to use wifi router to avoid the cables for this small gig?

[@stageleftaudio]

Not necessarily. A wifi setup would only impact the cabling for FOH. The FOH cabling is a very small part of all of our setups; all the band inputs and FOH sound outputs along with monitor wedges (if using floor monitors) still need to be cabled (this can't be avoided). As part of our service, we do not use wireless console connectivity solutions.

[@KpTheFth]

@@stageleftaudio I mean not to do a mixer tent station, to avoid the cables u could use remote application from your phone or tablet

[@stageleftaudio]

Thanks for the reply. I see what you mean. Ultimately, to avoid unnecessary connectivity issues, we do not use wireless mixing.

[@soundfreak8892]

Now that the berhinger wing compact is out would you consider upgrading from the qu16

[@stageleftaudio]

We do not use wireless console connectivity solutions as part of our service.

[@soundfreak8892]

@@stageleftaudio what? Please explain more

[@stageleftaudio]

Wireless can be a good option, but can be unstable to use. Occasionally, I mix for bands using their gear (including iPads/tablets). It is convenient, but there have been issues with connectivity drop-outs, slow responses on the iPads, screen is very difficult to see during outdoor (daytime) shows, battery life issues, sometimes the screen (or app) does not respond to touches, etc... A few years ago while mixing on an iPad in a bar, the channel faders started moving on their own. Luckily, It did not affect the volume level of the instruments, but I had to touch the fader channels to get them to reset to where they should have been. This is just a few of the issues I encounter with wireless options. As a service provider (which I am), I cannot risk the potential of console issues during events; this would be unacceptable with my customers; which is why our setups are always wired. I do know of two providers that use wireless mixing, and they enjoy it. However, I still think wireless mixing is a great tool for bands (as part of their own PA). They can get themselves dialed in and then just hand the iPad over to whomever will be mixing them. Wireless mixing is a tool, but it is not the right tool for the services we provide.

[@soundfreak8892]

@@stageleftaudio it’s not a wireless console you can physically mix on the console your term for wireless console does not make any sense to me. Even the qu is considered wireless because you have the option to use the iPad app with a router. I’m talking about the berhinger wing compact not the wing rack my friend…

[@stageleftaudio]

My mistake, thank you for the clarification. I thought you were eluding to wireless mixing. For the Behringer Wing Compact, I have no experience with it. Unfortunately, my experience with past Behringer products have not been too good. I would probably not move to a Behringer product as an upgrade (unless I have worked with it before). At the moment, I would probably move to another A&H product first.

[@jasonlapasinskas5302]

What ramp is that? Where did you purchase? Thanks

[@stageleftaudio]

It is from a company called EZ-Access. ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742 The ramp in the video is 8ft tall. Hope this helps.

[@AngelitoTirana]

Done watching from Philippines

[@blacklist45av3]

Hi sir, how do you mix your kick drums? aux send to sub thump and mains for the pop? sounds really good and tight..

[@stageleftaudio]

Thanks for your comment. We use a crossover (dbx-260) at FOH for the PA. No aux-fed sub is used.

[@Ky6Stringer]

Do you maintain a "Plan B" in the event something goes awry with a crucial part of your gear while on location, (i.e. mixer craps out, etc.)?

[@stageleftaudio]

Yes. We do have some redundancy (mixer, cables, amplifiers, mics) at every event. Good question.

[@napynap]

Powered monitors once save a gig for me when a mixer went out for the last set. We connected the mics directly to their inputs for the vocals and finished the gig.

[@stageleftaudio]

Good save.

[@yondiipoya2277]

What crossover brand you are using?

[@stageleftaudio]

We use DBX DriveRack 260

[@yondiipoya2277]

@@stageleftaudio Alright

[@KwasiHenry]

Yes DBX currently, that's the best

[@makstaz79]

It's a shame Crown discontinued those non-DSP macro tech-I amps; the ones with the DSP cost a fortune. Great job with the PA system, as usual. Do you mind sharing which Tannoy speakers you use?

[@stageleftaudio]

Thanks for your comments. Actually, the Crown amps we use have DSP on them, however, the DSP is only configurable using a laptop. This may be a problem for some users, but for us, our Crown amps are only used for sub use, therefore, the DSP is configured on them once and we don't need to touch them again. We use the Tannoy VS218DR subs for some events.

[@vijaykutti7717]

hi sir I'm from India i wanna work with u sir I'm a sound operator sir is their any job sir ?

[@stageleftaudio]

Thank you for your interest. There are no jobs with us.

[@vijaykutti7717]

@@stageleftaudio ok sir

[@stuartpaul9211]

here's me as a DJ getting shut of the subs in my 40s because of the weight and noise complaints. im currently trying to cram an 8 channel mixer, mic receiverx2, IEM transmitter, sound card, 10 inch monitor, cabling and power strip in to what I think was a Guitar pedal case. All to save carry big heavy boxes. especially to plug and play venues. Lots of UK venues you can't even park close to for unloading.

[@stageleftaudio]

Sounds like a lot of work to reduce the number of cases to bring in to a show!

[@stuartpaul9211]

@@stageleftaudio I used to play with cardboard boxes as a kid. So, I must be harking back to my childhood with plywood boxes instead. ?

[@IkanGelamaKuning]

I left this job 20 years ago. No regret.

[@stageleftaudio]

I understand.

[@albertmahu9243]

Why did you leave the job

[@muratiskl8923]

Thıs job get your normal life and it turns you a mad

[@CDP135Z]

I 2nd this!

[@CDP135Z]

But, here I am, watching his video, missing it. It’s so much fun!

[@NicholasKagecha]

Is your sub active or what because I had you saying that you are powering your sub please I didn't understand there

[@stageleftaudio]

The sub is passive. It is being powered by the Crown MA 5000i amplifier (the bottom amplifier in the rack). The top (mid/high) cabinets are active.

[@jasonlajuene2036]

info about your load ramp ?

[@stageleftaudio]

ezaccess.com/products/traverse-singlefold-ramp-work?variant=49066953703742

[@sukmagatotpurwantoro4819]

Sangat keren sekali...salam dari saya di jakarta

[@stageleftaudio]

Terima kasih dari Amerika!

[@sukmagatotpurwantoro4819]

Saya ingin sekali ke Amerika. Ingin belajar lebih pintar

[@jeddlawrence]

Just one sub? How was that?

[@stageleftaudio]

It was perfect. More than enough power for this event. We use single sub deployments for many of the shows. For the larger shows, we will use 2 or more subs.

[@jeddlawrence]

@@stageleftaudio wow... i would love to hear how that sounds...

[@napynap]

I know about the physics of how the ear hears/feels low end so I tried one sub on an outdoor show once. The formula really didn't work. It was definitely lacking to the audience in areas. Maybe for smaller indoors, but never again outdoors.

[@fabiobigmu-p9v]

Ative a legenda por favor

[@stageleftaudio]

As legendas estão ativadas para nosso canal. No entanto, as legendas de um vídeo podem levar algum tempo para serem geradas. Muitos vídeos novos que postamos ainda não possuem legendas, no entanto, alguns de nossos vídeos mais antigos possuem.

[@mhlengimtolo5053]

❤

[@MANOELALVES78]

Libera a legenda pra nós brasileiros que curtem seu canal

[@stageleftaudio]

Obrigado pelo comentário! Tenho tido problemas ao tentar fazer com que os subtiles funcionem, mesmo no meu idioma inglês. As “legendas automáticas” funcionam, mas às vezes leva meses até que estejam disponíveis. Estou tentando resolver os problemas... outros também me contataram sobre sutilezas. Espero conseguir algo que funcione com subtiles. Obrigado novamente por assistir.

[@malpharius]

That team is not aligned in time and phase. It's a vital point in any scenario trying to sound halfway decent. This subwoofer is physically ahead of the entire system, and a delay must be applied to it.

[@stageleftaudio]

Thanks for your comment. Why do you think a delay was not applied?

[@nmawutor6636]

is KC Ghanaian...if so I just spotted a Ghanaian...Ayikoo

[@stageleftaudio]

I'll have KC look at this post!

[@midwayproaudio6932]

Yes, I was born in Ghana.

[@nmawutor6636]

@@midwayproaudio6932 ...Ayikoo to You Sir...I'm also a Sound Engineer in Ghana...

[@isettech]

I've gone to a digital snake with a digital console and stage box and never looked back. A 100 foot CAT5 Ethercon cable will fit in a small laptop bag. I leave the old analog snake home as it's setup, teardown, a space requirements for transportion is no longer the issue it used to be. I carry a 50 foot, 100 foot, and 150 foot ethercon cables and 2 couplers, so I can select 50 foot, 100 foot, 150 foot, 200 foot, or 250 foot snake with a combination of 2 couplers and 3 cables. It is a huge difference from an analog snake. I use a 32 X 16 digital stage box. Anybody need a lightly used 12 X 4 snake 75 feet long? I no longer use it.

[@stageleftaudio]

Thanks for the comment. Yes, digital is great. We do use a digital snake setup for some events, but we restrict its use mostly for indoor events. There's too many variables with outdoor events to contend with. We still use analog; for us, it works perfect for outdoor events, especially during rain events.

[@TL-wu4id]

The subwoofers don't sound that good. Maybe you didn't want to push them. Kind of lack of the thump.

[@stageleftaudio]

The camera is compressing/limiting all audio.

[@williamthesoundguybalestri1745]

Great video! Thanks for sharing! But analog snake. Eeeewwwww! Passive monitors.. eeeewwww! A&H QU mixer great! Fake rock over the power distr.. Great! Donner EM1. Cool! Love 'em! Point source mains... eeeewwww!

[@stageleftaudio]

Thanks for the comment. Those are great tools for that job!

[@tlb2732]

I cringed watching this video. There's nothing quite like an outdoor event on a beautiful day with a great family atmosphere and perfect weather. There's also nothing like an outdoor event where a sudden and isolated storm appears from out of nowhere, with high winds and just enough rain to soak your gear before you can secure it. With not enough hands to keep gear from toppling in the wind much less cover it against the rain. After 44 years of live performing and 15 in sound production, I have strict demands regarding outdoor shows. As a result, I don't do many outdoor shows. For starters, if the entirety of the show is not located under an existing shelter extending well beyond the dimensions of the stage and if clear access to indoor emergency space to rapidly move gear to is not available, I won't discuss the gig any further. I'm glad your event went off without a hitch.

[@stageleftaudio]

Thank you for your great comment! 44 years... that is a long time. Yes, outdoor shows are at a different stress level. We do take extra precautions for outdoor events, and we do develop contingency plans with the entertainment as well as the organizers. What is not shown in the video are the cases of vinyl tarps and sand-bags we have as a "just-in-case". As long as the weather is good (as it was in the video), all inclement "tools" are stored in the van (or trailer, depending on the event). For the questionable weather events we do, I check the weather radar often on a cell-phone. If things start looking bad, we are tarping what we can, putting the walls up on the tent, and notifying the organizers the event may be concluding early. A few years ago for a large event, I had to cancel my services due to a pending hurricane (was about 3 days out when I cancelled). The organizers of the event officially cancelled (due to the hurricane) the following day. We too will not entertain quotes for service if the event site is not structured (or planned) properly for inclement weather.

[@nagpurkalamanch8963]

Whyy uncle whyyyyyy , you are alone ?? 😮😮😮 🤷🤷

[@Resounded]

Spankings ! For all the Crazy Rapid Panning ! Pan Slow.. Not back and forth like a crazy ! Made me sick.

[@s0cal297]

Dude, this guy is out there doing the hard work of getting a sound system set up, mixing, and strike, and you're armchair quarterbacking this guy by crying about video panning!!? How about you do this kind of hard work AND make a video then you can "tell us how it's done". Go eat another gallon of ice cream and complain somewhere else. If this video makes you sick, please leave and never come back. This guy is in the trenches showing us how he does it.....and the community learns from it, oh, not to mention he has to search for, acquire, and maintain clients, which you, probably have none of. I'm sure if @Resounded had to do a gig like this you wouldn't last through load in...and we'd hear all your dopey excuses about why everything went wrong. You contribute nothing to this conversation and you're comments are not appreciated.

[@KwasiHenry]

Why doing this a lone at list 4 or more to help u cus you're ageing am sorry though 😂😂😂

[@stageleftaudio]

Actually, I had someone working with me. His name is KC. He worked very hard on this show! Thanks for your comment.

[@ryanthepianoman27]

That guy can’t sing🤐