Learning! Learning! More learning! (Thanks for the shout out!) This video was jam packed with learning opportunities. Once again, The Sound Couple showed us how to plan and execute excellent production for a familiar venue. It is always instructive to see how Bart and Stacy handle a venue that they have served several times in the past. It is particularly helpful to observe the video inset screen that shows how Bart adjusts the equalization and level on each of the designated channels during the sound check. There is much to learn by observing what Bart is doing and by listening to the results. If this is, indeed, the last time that The Sound Couple will serve this venue, it’s understandable with all of the physical challenges of getting gear onto the site. In any case, the people who own this property certainly do well by their neighborhood when they sponsor and pay for this annual event. Thanks to The Sound Couple, for once again, sharing with us. It is so very helpful, as we strive to increase our own professionalism in providing production services.
Thanks Dean! The host always ponders if he is going to have it again...but then he says he can't do it without us! We really like the event but don't like that hill so we take it a year at a time!
I don't know what y'all got paid, but from personal experience, it probably wasn't enough! People don't appreciate the amount of work that goes into putting on a show, even a small one like this. I played in local cover bands for 20 years, and we ran our own systems, that was all analog back then. I wouldn't know where to start with the digital stuff you guys use. Great job you guys!
@@thesoundcouple Yeah, I guess you're probably right. How we'd show up at the club 2 hours before showtime, load-in, hook up everything, fix all the little problems, play 3-1hr or 4-45minute sets, break it all down and load-out, essential an 8+ hour job from the time you left home, to getting back, all for the princely sum of $40-50 a man! Did it because we'd loved playing. And we were relatively young. Couldn't do it anymore, getting too old to even think about it!🤣
As a digital soundboard it is important when it comes to multiple bands! and save the scene and congratulations on the beautiful work you do... it reminded me of the 90s when you had to turn around in the 30s to "record or save the scene" on an analogue soundboard!
Oh yes the Polaroid save method. I remember seeing pages in the back of mixer manuals that you could print out multiple copies and write down all your settings, never really used him at that point. Then as I started doing more things I realized I have a digital camera and then a smart phone camera. And then everything went digital. It's interesting I knew and didn't know at the same time about Polaroid usage but I remember hearing it from somebody and going yeah that makes sense.
Yes...the sound checks are really important. We just had a similar type of gig recently where the band arrived late and full of surprises for us. They commented...oh, you can dial it in and we will let you know what we need as we go...... They didn't get it.
RF Venue makes great products. That antenna, the CP Beam, is collapsable, so it stores great in our rack drawer, and we have it for our in-ears as well. It has cut drops immensely, and we also have the RF Venue DFIN antenna for our wireless mics and instruments and that also has helped with our wireless management that the only time we have drops is because I forget to do a complete scan for frequencies. I cannot recommend them enough, but they are pricey, so you definitely have to budget for them. Great video guys.
Really enjoyed this gig log mix sounded so good for all the bands loving your tech and how far you have come well done Bart and Stacy thank you keep the videos coming. Love from the UK
Great video. It all looks very familiar to me. I’ve hauled a lot of equipment around in my day and rolled up lots a cables. Today I have my own small system and perform solo so don’t have that much. I don’t miss the days of hauling tons of road cases around anymore. I just tour with 3 guitars 4 loudspeakers 2 pedal boards and a couple bags of cables. Thanks for the look behind the scenes.
What I found the most useful for dealing with multiple acts is to just strike every cable but sometimes that can't be done. The next best thing label standard channels. I had 2 1/2 bands this year and for the most part I used as many channels as I possibly had cables for on an XRack32 with SD16 stagebox. When we went to switch over I had a little bit of an issue as I found out somebody stole one of the microphone cables and rerouted it, and as I was in the middle of trying to figure out where it went when it right as we were starting back up and it started raining. this was the infamous sideways rain day this year 2024.
I am one man banded most of my stuff and I always feel bad going no I don't really want or need the help. By the time I explain it, then have you do it wrong, have to redo it, I might as well have just done it. But I'm also occasionally trying to make sure I am teaching as I go. I'm hoping I get more time with one individual that's not rushed as I think he would be really good but he's a musician and every time he's helped he's gone right in full force at the end in someways almost nervous like. One night this resulted in pulling cables that weren't detached and wrapped around things knocking over parts of the drum kit. I definitely have more work dealing with people and dealing "with" people. It's been fun watching these videos from the outside perspective.
@@thesoundcouple yeah. At least the venue that I'm at there isn't really a time crunch there's just a it's nice to leave at 10 And I live and I live 15 minutes away. It's an outdoor stage so all I have to do is wrap up cables and stands carefully around the band wait for them to get their stuff out then go for speakers and cables and roll the mixer in. I know it's even less stress since I work at the venue and have keys. In the end it's not that much to put away so there really isn't that much of a rush.
First off, I love your videos. I watch them all as soon as the come out! The guitarist in the first band to sound check seemed to be doing his part in getting what he needed without killing the audience. He used amp legs which lessens the “beam of death” problem. As a guitarist, we stand behind the house sound. Between phase issues and cymbal abuse, it can be surprisingly hard to hear. Aiming the amp at my head is usually a decent compromise to hear myself without killing the front rows. I don’t have to turn it up that much more because I’m standing in the blast zone. Also, with the amp pointed at my head, it forces me to EQ my tone better. This makes the source better. I’m not speaking up for the guys who blast their ankles with a trebly beam of ice picks.
@@MurrayWilliams It seems they'd have the ability to give you your own monitor mix, so instead of cranking the amp so much, just put some in the monitor? I've played with some really loud guitar players and the hardest thing is getting them to turn down! I played guitar and bass in many different bands and was always complimented on being the "Quietest" bass player ever, as I used a small amp and allowed the FOH to handle it. I've always heard the stage should be the quietest part of the venue, but you do run into some heavy handed drummers for sure!
@@bigjohnson7415 I actually agree with you. I don’t speak for the guitarists who live their lives on blast. They are a problem. There is a happy medium where there’s enough amp for the guitar and amp to work together which gives you good dynamics. But, it comes down to the guitarist and front of house to work together. I don’t understand the physics completely, but more monitors doesn’t do the same thing. It muddies up the stage volume. Maybe there’s phase issues between what is coming out of the amp and what’s coming out of the monitor. It’s been my experience that I have to have more monitor than my amp to approximate the same thing. I’ve found what helps the most to address bad stage sound is eliminating wedges and going to IEMs. Then set the amps to sit nicely with the acoustic volume of the drums and we can get to a good sound. At the end of the day, everyone has to work together to get something that works. As a FOH mixer, I know you have to work with some real meatheads. I’ve played with them. I want them to turn down too. I don’t speak for them. Ha.
Just a couple minutes in, talking about bands with IEM's. I would always recommend as a production company that you bring a split, and hand the band tails, rather than relying on a band's split. This way you can have multiple tails on ramlatch (other multipin disconnects are available) for multiple bands, and it keeps everything nice and easy. then you can go ahead and add subsnakes on multipin disconnects as well, and you're really cooking with fire 👌🏼 you could always leave your console whip patched as well, so you don't have to do that on site all the time. anyway, just a little advice i've learned from working big festival stages :) now, back to the video :P
Interesting about in-ears. I have mostly done a handful of one offs or two offs where not the majority of the band is using them. I'm gonna have my first Foley in-ear band on Friday. I won't have to drag the monitors out but I'm also thankful I'm not swapping bands. It is a bit crazy when you have to loop them through the whole system. I guess I would really prefer to just hang them off like monitors from the main consul but that does depend on how many outputs you have. I guess that could work better if you had a snake with a split, then you could just run everything and split off into there in-ear system without having to go through it. but that means the split is on your side and not their side.
You also need to consider the amount of time it takes to "dial in" an ear mix. That's why it's better if the band carries their own or if we provide it, we ensure they have control of their mix.
Thanks for showing all the work and time it takes to run sound. And thanks for the studio vs. live sound comparisons. I wondered if you run a crowd mic to give some ambience into the in ear mixes or is there enough coming through all the open channels.
Yep. We label every microphone (and colour code through foam) as well as all the DIs, so when the next act comes up we can just say vocals on 2 and 3, guitar on 1, bass on 2 etc. (for our mostly acoustic multi act concerts we can 15 acts in two hours, so several scenes recorded on the X32 and pull up the appropriate vocal and guitar/duo/singer-guitarist with harmony/keyboard with vocals/and then a couple of 5 microphones/5 instrument scenes. Luckily there aren't usually much in the way of drums beyond bodhran/cajon.
We use Baofeng 888 two way radios for comms. We just have regular speaker mics for outdoor gigs and single ear buds for indoor events. They have a light on them if someone is transmitting, especially if you take the earbud out, you can see if someone is trying to get in touch. They are not expensive and can be replaced if damaged.
Unsolicited advice warning. For compression on the TOMS, In my experience using a slower attack (30-50 ms) lets the snap of the Tom come through, but clamps down on the ringing. But , my experience is limited to my current How of Worship gig, and I certainly defer to your experience. Thanks for the great videos!
As a sound guy myself... I know the problems you can have with people wanting to control external sound devices, Amps.. Etc., makes your job and reputation much harder.
You are right...it shouldn't be an "us" vs. "them". That said, I think some sound people bring it on themselves....Sometimes, you need to suck it up, take a deep breath, and do what best serves your client and event.
Nice Mix I couldn't tell where it was live and where it was recorded at points. If you can get it right as it's going in the can it comes out quite good.
The monitors were primarily for the two other bands. The singer in the headliner requested additional support from the center monitor. It was ok with us since they were there anyway...not something we have been asked to do before with a band the provides their own monitor rig.
You can never be thorough enough...recently, we have had a couple of close calls because we are sometimes are all over the place at venues. Thanks for watching!
Bart, I noticed you monitoring out of the SL mixer in ears. Do you wish that headphones output had an adjustable delay so you could time align what you hear standing 35 or more feet in front of the band?
Another great video SC! Could you share your preset file to load onto our Presonus SL3 mixers and check your settings? If there is any channel that you don't want to share, you can disable it. Thanks.
Be happy to! We should have some time here in the next couple of weeks and we will let you know. Remember, the presets are what work for us...it's just like an instrument, they won't sound the same in the hands of two different people....it's a personal thing that assists your brain to connect to your ears and hands.
@@thesoundcouple You are absolutely right on that. And this is the main reason to see how two brains' processing is different by comparing yours and mine. Thanks.
I have the 16r 3years and i had major failures like the main vox would not come out the mains only monitors and gtrs changing levels in monitors and hard power reset did not fix . I had to change channel for the vox but after gig it worked, it was not to hot and the humidity wasn't high .. cant have that so I went to Allen and heath . So you know!
Overall, we much prefer IEM's as it usually benefits the entire event production. The downside is troubleshooting individual issues. Also, we have demonstrated in several of our videos as the only way to successfully deploy them with our system is to enable each member to control their own mix. Some bands provide their own IEM rigs too which is typically even better. We do like our PreSonus 328ai's as monitors and get many compliments on how loud and good they sound, so that's always nice to hear when we are using wedges. We do mix monitors/IEM's but would not give a musician both like we did in this case (our monitors where already there).
Thanx a million!!! Your rig is helping me develop mine.. Not too many on YT to help us…I thought about the presonus system because of the extended I/O thru AVB..
Speaking of team comms I would talk to the guy at Stage left audio he has a talk back system that works great I don't think it's wireless though I know he's old school he uses a mixer console for his gigs.
Thank you....we have seen those. They give me flashbacks to bad memories working in a more of a theatrical setting...forced to used them and they were a complete pain in the a** to deal with! Perhaps a wireless, but the corded ones are cumbersome to deal with.
@@thesoundcouple Oh okay, I’m actually a fellow engineer with stage tech my dad owns the business with all the equipment and we do ground stacks with lighting and etc.. I’m 13 years old and I love watching y’all’s videos!!
Bom dia! Curto muito os seus vídeos. Tenho muito interesse de ter 2 caixas CDL12. Mais não encontrei aqui no Brasil para eu comprar . Teria como vcs venderem pra mim as suas usadas?
Bom dia! Só perguntei pois aí é maís fácil comprar. Se eu for importa novas fica muito alto o preço, impostos altíssimo pra mim. Obrigado pela atenção.
Hi, I noticed that your processing chain order is Compressor and Eq ( compression is at pre EQ ) on almost all the channels or maybe all the channels. any reasons why. because i normally do compression after eq on almost all of the channels.
I hate harmonica's soo much I was mixing this one band a few years ago and the lead singer had the same set up but the volume diffrence between his singing & the harmonica was soo massive I had to watch him closely to turn the mic down every time he went for the harmonica & what do you know one time I'm looking down he goes from singing to harmonica & blows as hard as he could & blows 2 of my hi's halfway thru the show :(
Keep forgetting that on the PreSonus, there is an A/B feature for each channel that allows you to apply different dynamics on each channel....gotta to remember this as this is a perfect use case. The button is right there on the consoles, but two taps away in Universal Control which makes it less usable on the fly.
Thanks for your wonderful work.
You're welcome!
Learning! Learning! More learning! (Thanks for the shout out!)
This video was jam packed with learning opportunities. Once again, The Sound Couple showed us how to plan and execute excellent production for a familiar venue. It is always instructive to see how Bart and Stacy handle a venue that they have served several times in the past.
It is particularly helpful to observe the video inset screen that shows how Bart adjusts the equalization and level on each of the designated channels during the sound check. There is much to learn by observing what Bart is doing and by listening to the results.
If this is, indeed, the last time that The Sound Couple will serve this venue, it’s understandable with all of the physical challenges of getting gear onto the site. In any case, the people who own this property certainly do well by their neighborhood when they sponsor and pay for this annual event.
Thanks to The Sound Couple, for once again, sharing with us. It is so very helpful, as we strive to increase our own professionalism in providing production services.
Thanks Dean! The host always ponders if he is going to have it again...but then he says he can't do it without us! We really like the event but don't like that hill so we take it a year at a time!
The Pecron that we got worked great. Thanks to the two of you for the great info. Can't wait for the two of you to be on the show.
It's definitely a piece of gear that you ask yourself how we got by without it! Shoot us a date that you are thinking!
I still need a Pechron!
@@XIIMonkeysMusicGroup We like ours but encourage you to research what's out there as there are a lot of options available!
I don't know what y'all got paid, but from personal experience, it probably wasn't enough! People don't appreciate the amount of work that goes into putting on a show, even a small one like this. I played in local cover bands for 20 years, and we ran our own systems, that was all analog back then. I wouldn't know where to start with the digital stuff you guys use. Great job you guys!
Thank you! I guess we like the punishment because then we started a UA-cam channel!
@@thesoundcouple Yeah, I guess you're probably right. How we'd show up at the club 2 hours before showtime, load-in, hook up everything, fix all the little problems, play 3-1hr or 4-45minute sets, break it all down and load-out, essential an 8+ hour job from the time you left home, to getting back, all for the princely sum of $40-50 a man! Did it because we'd loved playing. And we were relatively young. Couldn't do it anymore, getting too old to even think about it!🤣
You don't do it for the money, trust me.
@@thesoundcouple lol yall di fantastic!
@@colemartin9077 Thank you!
As a digital soundboard it is important when it comes to multiple bands! and save the scene and congratulations on the beautiful work you do... it reminded me of the 90s when you had to turn around in the 30s to "record or save the scene" on an analogue soundboard!
We used to take pictures of our settings when we used an analog board. Doesn't feel that long ago...but it's getting to be!
Oh yes the Polaroid save method. I remember seeing pages in the back of mixer manuals that you could print out multiple copies and write down all your settings, never really used him at that point. Then as I started doing more things I realized I have a digital camera and then a smart phone camera. And then everything went digital.
It's interesting I knew and didn't know at the same time about Polaroid usage but I remember hearing it from somebody and going yeah that makes sense.
Nice video showing three bands and their setup and Sound Checks beforehand made the actual show smoother during its transition.
Yes...the sound checks are really important. We just had a similar type of gig recently where the band arrived late and full of surprises for us. They commented...oh, you can dial it in and we will let you know what we need as we go...... They didn't get it.
You guys are doing a great 👍 job. People keep you busy all year long. Thanks for sharing.
Thanks! It can be cyclical, but overall, yes, we stay as busy as we need to be.
RF Venue makes great products. That antenna, the CP Beam, is collapsable, so it stores great in our rack drawer, and we have it for our in-ears as well. It has cut drops immensely, and we also have the RF Venue DFIN antenna for our wireless mics and instruments and that also has helped with our wireless management that the only time we have drops is because I forget to do a complete scan for frequencies. I cannot recommend them enough, but they are pricey, so you definitely have to budget for them. Great video guys.
Thank you and thanks for sharing your insights about these antennas.
Really enjoyed this gig log mix sounded so good for all the bands loving your tech and how far you have come well done Bart and Stacy thank you keep the videos coming. Love from the UK
Thank you! We enjoy sharing our experiences with you!
Great video. It all looks very familiar to me. I’ve hauled a lot of equipment around in my day and rolled up lots a cables. Today I have my own small system and perform solo so don’t have that much. I don’t miss the days of hauling tons of road cases around anymore. I just tour with 3 guitars 4 loudspeakers 2 pedal boards and a couple bags of cables. Thanks for the look behind the scenes.
You’re welcome! Thanks for sharing in our fun!
This episode flew by! Great video.
Good to hear! It's not always clear how long we let these go in some cases.
What I found the most useful for dealing with multiple acts is to just strike every cable but sometimes that can't be done. The next best thing label standard channels. I had 2 1/2 bands this year and for the most part I used as many channels as I possibly had cables for on an XRack32 with SD16 stagebox. When we went to switch over I had a little bit of an issue as I found out somebody stole one of the microphone cables and rerouted it, and as I was in the middle of trying to figure out where it went when it right as we were starting back up and it started raining. this was the infamous sideways rain day this year 2024.
That’s always the biggest concern when you have so many different moving parts!
I am one man banded most of my stuff and I always feel bad going no I don't really want or need the help.
By the time I explain it, then have you do it wrong, have to redo it, I might as well have just done it.
But I'm also occasionally trying to make sure I am teaching as I go.
I'm hoping I get more time with one individual that's not rushed as I think he would be really good but he's a musician and every time he's helped he's gone right in full force at the end in someways almost nervous like. One night this resulted in pulling cables that weren't detached and wrapped around things knocking over parts of the drum kit. I definitely have more work dealing with people and dealing "with" people. It's been fun watching these videos from the outside perspective.
In the time crunch it can be hard to balance between teaching and just doing it yourself.
@@thesoundcouple yeah. At least the venue that I'm at there isn't really a time crunch there's just a it's nice to leave at 10 And I live and I live 15 minutes away. It's an outdoor stage so all I have to do is wrap up cables and stands carefully around the band wait for them to get their stuff out then go for speakers and cables and roll the mixer in. I know it's even less stress since I work at the venue and have keys. In the end it's not that much to put away so there really isn't that much of a rush.
Niiiiiiiiiiice....... This was a great sounding gig....
Thanks! We got this one dialed in and we are able to do more with less! We used to bring a lot more PA in (for some reason).
First off, I love your videos. I watch them all as soon as the come out!
The guitarist in the first band to sound check seemed to be doing his part in getting what he needed without killing the audience. He used amp legs which lessens the “beam of death” problem.
As a guitarist, we stand behind the house sound. Between phase issues and cymbal abuse, it can be surprisingly hard to hear. Aiming the amp at my head is usually a decent compromise to hear myself without killing the front rows. I don’t have to turn it up that much more because I’m standing in the blast zone. Also, with the amp pointed at my head, it forces me to EQ my tone better. This makes the source better.
I’m not speaking up for the guys who blast their ankles with a trebly beam of ice picks.
@@MurrayWilliams It seems they'd have the ability to give you your own monitor mix, so instead of cranking the amp so much, just put some in the monitor? I've played with some really loud guitar players and the hardest thing is getting them to turn down! I played guitar and bass in many different bands and was always complimented on being the "Quietest" bass player ever, as I used a small amp and allowed the FOH to handle it. I've always heard the stage should be the quietest part of the venue, but you do run into some heavy handed drummers for sure!
@@bigjohnson7415 I actually agree with you. I don’t speak for the guitarists who live their lives on blast. They are a problem.
There is a happy medium where there’s enough amp for the guitar and amp to work together which gives you good dynamics. But, it comes down to the guitarist and front of house to work together.
I don’t understand the physics completely, but more monitors doesn’t do the same thing. It muddies up the stage volume. Maybe there’s phase issues between what is coming out of the amp and what’s coming out of the monitor. It’s been my experience that I have to have more monitor than my amp to approximate the same thing.
I’ve found what helps the most to address bad stage sound is eliminating wedges and going to IEMs. Then set the amps to sit nicely with the acoustic volume of the drums and we can get to a good sound.
At the end of the day, everyone has to work together to get something that works.
As a FOH mixer, I know you have to work with some real meatheads. I’ve played with them. I want them to turn down too. I don’t speak for them. Ha.
Just a couple minutes in, talking about bands with IEM's. I would always recommend as a production company that you bring a split, and hand the band tails, rather than relying on a band's split. This way you can have multiple tails on ramlatch (other multipin disconnects are available) for multiple bands, and it keeps everything nice and easy. then you can go ahead and add subsnakes on multipin disconnects as well, and you're really cooking with fire 👌🏼 you could always leave your console whip patched as well, so you don't have to do that on site all the time.
anyway, just a little advice i've learned from working big festival stages :) now, back to the video :P
Thanks for the info on that...we do have a splitter that we could use.
@@thesoundcouple I'd totally do that next time. also then you know all the channels on it are going to be working ;)
I plan on doing just that in the future. Just need more gigs to fund the next rack.
Anotha' one lesson! Thank u Bart and Stacy, keep up!!!!
Glad you enjoyed it!
Thanks Stefan!
Interesting about in-ears.
I have mostly done a handful of one offs or two offs where not the majority of the band is using them. I'm gonna have my first Foley in-ear band on Friday. I won't have to drag the monitors out but I'm also thankful I'm not swapping bands. It is a bit crazy when you have to loop them through the whole system. I guess I would really prefer to just hang them off like monitors from the main consul but that does depend on how many outputs you have. I guess that could work better if you had a snake with a split, then you could just run everything and split off into there in-ear system without having to go through it. but that means the split is on your side and not their side.
You also need to consider the amount of time it takes to "dial in" an ear mix. That's why it's better if the band carries their own or if we provide it, we ensure they have control of their mix.
Thanks for showing all the work and time it takes to run sound. And thanks for the studio vs. live sound comparisons. I wondered if you run a crowd mic to give some ambience into the in ear mixes or is there enough coming through all the open channels.
Thank you....the crowd mic is more a preference that the band would need to make. We have seen both with and without.
Yep. We label every microphone (and colour code through foam) as well as all the DIs, so when the next act comes up we can just say vocals on 2 and 3, guitar on 1, bass on 2 etc. (for our mostly acoustic multi act concerts we can 15 acts in two hours, so several scenes recorded on the X32 and pull up the appropriate vocal and guitar/duo/singer-guitarist with harmony/keyboard with vocals/and then a couple of 5 microphones/5 instrument scenes. Luckily there aren't usually much in the way of drums beyond bodhran/cajon.
Good to know we were on the right track!
@@thesoundcouple You're both a total inspiration so I'm never surprised you're already on the right track, ahead of the rest of us :)
I'm learning! 2 bands here in San Diego are willing to pay me to learn. I'm retired, 76 yrs old and love-n it.
Very inspirational...thanks for sharing!
We use Baofeng 888 two way radios for comms. We just have regular speaker mics for outdoor gigs and single ear buds for indoor events. They have a light on them if someone is transmitting, especially if you take the earbud out, you can see if someone is trying to get in touch. They are not expensive and can be replaced if damaged.
You are right...doesn't look like a bad solution and cheap!
Unsolicited advice warning. For compression on the TOMS, In my experience using a slower attack (30-50 ms) lets the snap of the Tom come through, but clamps down on the ringing. But , my experience is limited to my current How of Worship gig, and I certainly defer to your experience. Thanks for the great videos!
Appreciate the feedback...we are always open to new perspectives!
As a sound guy myself... I know the problems you can have with people wanting to control external sound devices, Amps.. Etc., makes your job and reputation much harder.
You are right...it shouldn't be an "us" vs. "them". That said, I think some sound people bring it on themselves....Sometimes, you need to suck it up, take a deep breath, and do what best serves your client and event.
Nice Mix I couldn't tell where it was live and where it was recorded at points. If you can get it right as it's going in the can it comes out quite good.
Darren speech to text auto correct giving me pics instead of Mex no mix.
Love your videos!
What are the dimensions of the pop up tent you used for FOH?
We have a 10X10 and a 5x5. 5x5 is what we used at FOH at this gig.
hi! what are those stage monitors that you are using? they look so good because it is slim. thanks
Those are Presonus 328AI. Score for you if you can still find them since they are unfortunately discontinued.
I noticed that the headliner had IEMs but also seemed to be using the wedges. Do I have that right? Sort of a strange way to do it.
The monitors were primarily for the two other bands. The singer in the headliner requested additional support from the center monitor. It was ok with us since they were there anyway...not something we have been asked to do before with a band the provides their own monitor rig.
@@thesoundcouple Got it. I've worked with several IEM companies through the years including UE and Clear Tune Monitors.
yes. always do an idiot check! nice event and sound! good job guys
You can never be thorough enough...recently, we have had a couple of close calls because we are sometimes are all over the place at venues. Thanks for watching!
Bart, I noticed you monitoring out of the SL mixer in ears. Do you wish that headphones output had an adjustable delay so you could time align what you hear standing 35 or more feet in front of the band?
Not really for what I am using them for...which is just typically for signal or listening if something doesn't sound right.
Another great video SC! Could you share your preset file to load onto our Presonus SL3 mixers and check your settings? If there is any channel that you don't want to share, you can disable it. Thanks.
Be happy to! We should have some time here in the next couple of weeks and we will let you know. Remember, the presets are what work for us...it's just like an instrument, they won't sound the same in the hands of two different people....it's a personal thing that assists your brain to connect to your ears and hands.
@@thesoundcouple You are absolutely right on that. And this is the main reason to see how two brains' processing is different by comparing yours and mine. Thanks.
I have seen some mix sessions where my head hurts just looking at them, but it's working for that person...sort of crazy!
@@thesoundcouple Haha, agree. Most of the time, it's about the acoustics. The exact same setup could sound way different in another venue.
If both of you have an apple watch, I think there's a walkie-talkie feature. Not sure if that's what you're looking for, but hopefully it helps!
We use that feature, but not super effective in loud environments.
@@thesoundcouple Oh ok, makes sense
I have the 16r 3years and i had major failures like the main vox would not come out the mains only monitors and gtrs changing levels in monitors and hard power reset did not fix . I had to change channel for the vox but after gig it worked, it was not to hot and the humidity wasn't high .. cant have that so I went to Allen and heath . So you know!
That's a bummer! Sorry that you were having so many issues your gear!
PreSonus has been excellent with their customer service and warranty issues. My 32R had a bad power supply that they replaced under warranty.
Have you tried Mixing Station yet? I'm just integrating that into my work flow!
Have not tried it yet, but we will!
@@thesoundcouple it can be run at the same time, on the same computer, as UC as well!
@@XIIMonkeysMusicGroup We will definitely be looking into to it!
Question Bart! Do you find it easier for IEMs or wedges? Or do you use wedges and IEMs at the same time?
Overall, we much prefer IEM's as it usually benefits the entire event production. The downside is troubleshooting individual issues. Also, we have demonstrated in several of our videos as the only way to successfully deploy them with our system is to enable each member to control their own mix. Some bands provide their own IEM rigs too which is typically even better. We do like our PreSonus 328ai's as monitors and get many compliments on how loud and good they sound, so that's always nice to hear when we are using wedges. We do mix monitors/IEM's but would not give a musician both like we did in this case (our monitors where already there).
Thanx a million!!! Your rig is helping me develop mine.. Not too many on YT to help us…I thought about the presonus system because of the extended I/O thru AVB..
Good advice.
Thanks!
Speaking of team comms I would talk to the guy at Stage left audio he has a talk back system that works great I don't think it's wireless though I know he's old school he uses a mixer console for his gigs.
Thank you....we have seen those. They give me flashbacks to bad memories working in a more of a theatrical setting...forced to used them and they were a complete pain in the a** to deal with! Perhaps a wireless, but the corded ones are cumbersome to deal with.
I run a hybrid system myself. Works rather well.
UHF cb with earpiece and ptt function will work just fine
Looks like sticky C# pad on that tenor. Or bent stack key.
What wireless Wi-Fi router do you use and what service??
We use a NowSonic Stage Router Pro (discontinued) and a AT&T Netgear hotspot.
@@thesoundcouplethanks!
What is the budget for a full setup?
Lots! Our pricing is tailored to the event and client....we really can't share specifics on our UA-cam channel...sorry!
@@thesoundcouple okay its all good! do yall ever think about investing in some beams for lighting?
@@ttveditgod5278 We have not...as of now, we don't have any plans for more lights. We have stuff sitting too much the way it is.
@@thesoundcouple Oh okay, I’m actually a fellow engineer with stage tech my dad owns the business with all the equipment and we do ground stacks with lighting and etc.. I’m 13 years old and I love watching y’all’s videos!!
Bom dia!
Curto muito os seus vídeos.
Tenho muito interesse de ter 2 caixas CDL12.
Mais não encontrei aqui no Brasil para eu comprar .
Teria como vcs venderem pra mim as suas usadas?
Desculpe... se vendêssemos o nosso, não teríamos nenhum para nós!
Bom dia!
Só perguntei pois aí é maís fácil comprar.
Se eu for importa novas fica muito alto o preço, impostos altíssimo pra mim.
Obrigado pela atenção.
❤❤🌹
Hi, I noticed that your processing chain order is Compressor and Eq ( compression is at pre EQ ) on almost all the channels or maybe all the channels. any reasons why.
because i normally do compression after eq on almost all of the channels.
That's the default setup on the mixer...have not tried changing that.
@@thesoundcouple okay noted. thank you for your feedback.
you should try it
Not sure if you can change the order if FX on the PreSonus mixers.
@@XIIMonkeysMusicGroup yes you can
Seems like a hard band to mix
Really not bad at all. I appreciated everyone's efforts to make sure we were ready to go for the show!
Analog and Digital is a complex marry. But the live sound was better than recording session
It sure is nice when it all works! The recording was for demo purposes...by no means a finished mix.
54..... Thailand
I hate harmonica's soo much I was mixing this one band a few years ago and the lead singer had the same set up but the volume diffrence between his singing & the harmonica was soo massive I had to watch him closely to turn the mic down every time he went for the harmonica & what do you know one time I'm looking down he goes from singing to harmonica & blows as hard as he could & blows 2 of my hi's halfway thru the show :(
Keep forgetting that on the PreSonus, there is an A/B feature for each channel that allows you to apply different dynamics on each channel....gotta to remember this as this is a perfect use case. The button is right there on the consoles, but two taps away in Universal Control which makes it less usable on the fly.