Great Video! I've been doing more live sound work this year and can't wait to hit a tour eventually down the road, it's interesting how I understood most of the stuff you were talking about! Very informative, thank you so much!
Great video. I have a quick question. Do you think that the A15’s with the KS21 subs scale well to 5,000 outdoor for rock levels, and if so, how many monitors per side do you think at what total wattage it would require? I was planning to scale-up my current L’Acoustics, as I love their sound.
Hey Andrew. I am going to be completely honest with you. I am definitely not a systems engineer, and I’m not an expert with L’acoustics, despite there being one behind me in this video. (It was hired locally, not on tour with me) From what I know about them though, I would think A15s would struggle with 5000 people. K2 would be great. Maybe the new K3 box. But I am seriously no expert. Good luck!
That talkback system is solid. So quick question about the shared stage box: If you have to adjust your input gains on the fly, how do you avoid putting the f*** to your monitor person?
Digico has a system called gain tracking (I think). When engaged the console that does not have head amp control automatically adjusts digital trim to compensate. It’s pretty slick and works well.
hey, thanks for the video. do you ever have more complicated mixing bussing, and fx for a live show, does it ever get to like mixing in the studio with all the waves plug ins at your disposal on a live rig? thanks
Thanks for the question! This show in particular had a pretty straightforward input list, check out my newer Yamaha Rivage video (ua-cam.com/video/v6QV0N6AtLg/v-deo.html) That has many more inputs and a more involved bussing and mixing strategy. I’d say that technology is taking live mixing closer and closer to mixing in a studio. There are still some factors that make it different like at this point it is very difficult to get many different manufacturers plugins in one system. And from a reliability standpoint, I can’t afford a “buffer error” or something while mixing a show. 🙃
Yes, the Lake is used for system (PA) management. I use it in conjunction with Smaart to precisely input delay times to the different zones of the PA I might be feeding ie Front Fills or Subs. I also like the Lake because any EQ I want to put over the PA for my taste is completely phase coherent EQ handled by its DSP, unlike most/all EQ that you might find on a console or a graphic EQ. And also being able to walk around and EQ wirelessly from a tablet is huge. Like you said, it is 4 in and 4 out. AES or Analog. In this case I'm using the analog ins and outs, my current rig is all AES. There are tons you can do with them and I'm just scratching the surface. Find anyone who regularly deploys large scale PAs and they'll blow your mind what they can do.
Hi Tom, Love the videos, carrying on from this, you go from your console to the Lake then where does the 4 outputs go from the lake in terms of cabling, is there an analog snake running down to stage to feed the FOH amp racks etc or ran a different way? Many thanks
I’ve seen a lot of rigs with those old style XLR connections, any idea why those are still used rather than all the new Neutrik connections? I’m just curious.
They still work great, they’re easily serviceable. If you’re a big provider like Clair and you have a ton of one kind of cable already, if it ain’t broke…😅
Interesting use a Waves. Haven't moved into network audio myself, but have been exploring Waves and Dante and trying to decide. Currently in the smaller realm of AES50 which is point to point and not routable with a router to multi destinations. Any particular reason for going Waves over Dante?
The only reason I’m using a waves network is to use their processing and plugins. That network is only between the console, a computer and a waves server. It must be in the waves soundgrid protocol to use waves plugins. For just moving audio around place to place, Dante is incredible. I use quite a bit of Dante networking in my newer Yamaha video.
@isettech - while Dante and Waves SoundGrid both use networks, they do fundamentally different things. Dante is for moving sound between many endpoints on a network. SoundGrid is mainly for processing audio on a dedicated outboard DSP running Waves plugins, and sending it back to the source.
Hey there! I’ll remember this for the future. However at this point (as was the case in this video) the PAs I work on are usually an install or are provided without a whole lot or any input from me. “PA du jour” if you will. I’ll do a video soon on how I handle system tuning and management!
@@ifitsoundsgood It's all good... seriously, all of it. I appreciate the content. Just bummed not seeing the rig. First World issue if there ever was one!
Great Video! I've been doing more live sound work this year and can't wait to hit a tour eventually down the road, it's interesting how I understood most of the stuff you were talking about! Very informative, thank you so much!
Just Subscribed. Looking forward to learning. Future topics: Explain a piece of specific gear in detail and its applications.
Thank you fot the tour
love from LAX warehouse!! i hope ill put an oreo in one of your gigs!
Great video. I have a quick question. Do you think that the A15’s with the KS21 subs scale well to 5,000 outdoor for rock levels, and if so, how many monitors per side do you think at what total wattage it would require? I was planning to scale-up my current L’Acoustics, as I love their sound.
Hey Andrew.
I am going to be completely honest with you. I am definitely not a systems engineer, and I’m not an expert with L’acoustics, despite there being one behind me in this video. (It was hired locally, not on tour with me)
From what I know about them though, I would think A15s would struggle with 5000 people. K2 would be great. Maybe the new K3 box. But I am seriously no expert. Good luck!
L'Acoustic claims that 4x A15 per side and 4xS21 per side will cover up to 5,000 people. Check out their intro video on the A-series on YT.
That talkback system is solid. So quick question about the shared stage box: If you have to adjust your input gains on the fly, how do you avoid putting the f*** to your monitor person?
Digico has a system called gain tracking (I think). When engaged the console that does not have head amp control automatically adjusts digital trim to compensate. It’s pretty slick and works well.
hey, thanks for the video. do you ever have more complicated mixing bussing, and fx for a live show, does it ever get to like mixing in the studio with all the waves plug ins at your disposal on a live rig? thanks
Thanks for the question! This show in particular had a pretty straightforward input list, check out my newer Yamaha Rivage video (ua-cam.com/video/v6QV0N6AtLg/v-deo.html) That has many more inputs and a more involved bussing and mixing strategy.
I’d say that technology is taking live mixing closer and closer to mixing in a studio. There are still some factors that make it different like at this point it is very difficult to get many different manufacturers plugins in one system. And from a reliability standpoint, I can’t afford a “buffer error” or something while mixing a show. 🙃
Thank you very much Sir☕🍰🍟🍔🥤
GREAT VIDEO!! At2:55 what's the lake lm44 for? 4 in 4 out?
Yes, the Lake is used for system (PA) management. I use it in conjunction with Smaart to precisely input delay times to the different zones of the PA I might be feeding ie Front Fills or Subs. I also like the Lake because any EQ I want to put over the PA for my taste is completely phase coherent EQ handled by its DSP, unlike most/all EQ that you might find on a console or a graphic EQ. And also being able to walk around and EQ wirelessly from a tablet is huge. Like you said, it is 4 in and 4 out. AES or Analog. In this case I'm using the analog ins and outs, my current rig is all AES. There are tons you can do with them and I'm just scratching the surface. Find anyone who regularly deploys large scale PAs and they'll blow your mind what they can do.
Hi Tom,
Love the videos, carrying on from this, you go from your console to the Lake then where does the 4 outputs go from the lake in terms of cabling, is there an analog snake running down to stage to feed the FOH amp racks etc or ran a different way?
Many thanks
I’ve seen a lot of rigs with those old style XLR connections, any idea why those are still used rather than all the new Neutrik connections? I’m just curious.
what?
They still work great, they’re easily serviceable. If you’re a big provider like Clair and you have a ton of one kind of cable already, if it ain’t broke…😅
Interesting use a Waves. Haven't moved into network audio myself, but have been exploring Waves and Dante and trying to decide. Currently in the smaller realm of AES50 which is point to point and not routable with a router to multi destinations. Any particular reason for going Waves over Dante?
The only reason I’m using a waves network is to use their processing and plugins. That network is only between the console, a computer and a waves server. It must be in the waves soundgrid protocol to use waves plugins. For just moving audio around place to place, Dante is incredible. I use quite a bit of Dante networking in my newer Yamaha video.
ua-cam.com/video/v6QV0N6AtLg/v-deo.html
@isettech - while Dante and Waves SoundGrid both use networks, they do fundamentally different things. Dante is for moving sound between many endpoints on a network. SoundGrid is mainly for processing audio on a dedicated outboard DSP running Waves plugins, and sending it back to the source.
Would've appreciated even more on the PA, ie., which boxes, ... alignment, sub strategy etc.
Hey there! I’ll remember this for the future. However at this point (as was the case in this video) the PAs I work on are usually an install or are provided without a whole lot or any input from me. “PA du jour” if you will.
I’ll do a video soon on how I handle system tuning and management!
@@ifitsoundsgood
It's all good... seriously, all of it.
I appreciate the content.
Just bummed not seeing the rig.
First World issue if there ever was one!
Neat!
I miss just mixing vs all the tech shit
I can't do the thumb track ball on my desk... I shake to much! lol
I swear I’ve used so many different types of weird mice. It seems like everyone it out to reinvent the mice out there.
Since you're using really basic WAVES plugins, why even use it? Why not use what's onboard the SD9 and save a little complexity?