Concert Set Up | Making it all Happen | Deploying a JBL SRX900 Series Rig

Рет қаралды 4,964

6 ай бұрын

A behind the scenes look at setting up for a concert, and the parts and pieces (and people!) that make it work. First full deployment of the JBL SRX900 series rig with SRX910LA tops and SRX918s and SRX928s subs for this show as well.
Interfacing with a touring act and their equipment.
The tour was using a Digico console for FOH. We used a Midas M32R for system deployment and testing before the band arrived.
A look at tour and vendor packaging (cases, racks, carts, wiring, etc.).
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Пікірлер: 23

@AlanHamiltonAudio 6 ай бұрын

A video about a holiday concert, just in time for Christmas! 😀 Another behind the scenes look at a live production, plus a look at the JBL SRX900 series boxes (SRX 910LA line array and SRX 918s and SRX 928s subs) that were fully deployed by me for the first time for this show. I'd ran them in a week earlier in groundstack config with 4 subs and 6 tops in total... MUCH smaller show... but this show used 20 tops and double the subs. As always, likes and subscribes always appreciated. Leave any comments or questions. The Patreon page is at: www.patreon.com/AlanHamiltonAudio And the FB page is at: facebook.com/groups/livesoundproduction ===================== Affiliate Links ----------------------------------------- 🎤Sweetwater Affiliate Links: Midas M32R digital mixer on Sweetwater- sweetwater.sjv.io/bavBkm Digital Mixers (Midas/Behringer/etc) on Sweetwater- sweetwater.sjv.io/g16Eng JBL SRX900 Series Speakers on Sweetwater- sweetwater.sjv.io/rQqGz3 PA Systems on Sweetwater- sweetwater.sjv.io/q4mXZ5 Chauvet Data Stream 4 DMX Splitter on Sweetwater- sweetwater.sjv.io/9gZQ0W 📦Amazon Affiliate Links: Elite Core Supercat Shielded Cat5e cable with Ethercon style connectors- amzn.to/46G8Kkt LyxPro Analog Audio Over Ethernet Dongles- amzn.to/3vili46 Chauvet Data Stream 4 on Amazon- amzn.to/41Bsc0L Items Used to Make This Video- FDUCE SL40 Vocal Dynamic Podcast Microphone on Amazon: amzn.to/408xlf3 Sony ZV1 Camera on Amazon: amzn.to/3z9MHny Canon M50 MkII Camera on Amazon: amzn.to/3z6c8X5 “As an Amazon Associate I earn from qualifying purchases.” "I earn from affiliate link purchases" Items purchased thru affiliate links come at no additional cost to viewers, but these purchases can earn the channel commissions.

@eyesaflame3747 3 ай бұрын

You’re from our hometown! Our guitarist owns Soundscapes Pro Audio and knows Rusty

@Gomba13 2 ай бұрын

That’s such a NEAT gig! None of the gigs I’ve done were this neat! 😂

@miguelpozoblock4223 6 ай бұрын

Vey nice thanks for sharing

@DallasSoundGuys 6 ай бұрын

Nice! I have a pair of the subs and 4 of the 906. Hoping for more!

@AlanHamiltonAudio 6 ай бұрын

They are nice boxes. Easy to deploy rigging and transport is all well thought out too.

@huntercurry 6 ай бұрын

Hi Al!

@AlanHamiltonAudio 6 ай бұрын

Hey Hunter!

@paranormalfolks 5 ай бұрын

My company just bought in to SRX. We run them dumb because we noticed immediately that using them with the performance application would take a while to properly assign boxes to their Hcontrol addresses. How are you guys overcoming that? Is there a process we are missing?

@AlanHamiltonAudio 5 ай бұрын

We assigned ours an address/H-name(number) at the shop, and then labeled the boxes in the handles and on the rear. That makes it pretty easy to build a show offline, save it, and then load it at the gig and quickly sync the show to the boxes. Then tweak as necessary for any system tweaks we want to add. And save that as a venue specific setting. And that way, we don't have to use every box per se for every show either... For example, just hang 4 SR 910 cabs and 4 SL 910 cabs, and 2 subs per side, and just make sure we're carrying the boxes that we created that specific show for. And of course, for the full deployment, just hang and position them in the same relative places as the design, load and sync and we're running. As long as we hang and position the boxes via their labels, it's pretty quick and painless. SR hang boxes are 101-110... SL hang is 111-120 (although in retrospect probably should've made those 200s as the SL designation... although that's semantics more than anything). Subs are 300's... fills are 400's... The transport carts also got SL and SR written on then so that's another identifier. The snag I ran into, which isn't a problem except to be aware of it, is I muted the system via Performance at a show so the act could unpatch their FOH console for the load out. I had no reason to fire up the rig again that night so we powered down. Well, a few days later, when I powered up again after a FOH reposition and repatch, just as a quick test... You guessed it... the system remembered it's muted. LOL... And I didn't have a laptop with me because I was just dropping off some stuff and repatching FOH for a show there in a few days. And of course I wanted to test my repatch before calling it 'good'. I was only going to be there 15 mins... I needed to get a laptop, download and install the software, and then load the show from my USB stick on my keychain, synch the rig, and then unmute it. All to learn my repatched FOH was working perfectly fine. But if I would've just ASSUMED it was fine, I would've gotten back for show day and something would've not been working. So, probably not a bad idea to always make sure you have your show files on a USB stick, and a backup laptop somewhere with the rig. Just in case...

@1rufdj 2 ай бұрын

Can you comment on the sound quality and SPL of the new SRX900 rig? Thanks

@AlanHamiltonAudio 2 ай бұрын

Sound quality is very good. High end is detailed and not harsh. You have to work at it to make it harsh. The subs have been very impressive all things considered. With the subs in a line, delayed into an arc, they can easily outpace the tops if you just run things at unity. I ended up knocking a couple dB off the subs. That's with 10x910LA tops per side and 9 subs (and technically it's been 7x928s and 2x918s... but I have 9x928s that will be the normal deployment (at least in the venue you see here) going forward). I haven't really done any critical SPL measurements. I've looked at the deployment on the room here in Smaart as far as that goes, but not pushed the boxes to limiting and noted SPL measurements. Maybe this summer I will be in some situations where the deployment will be radically different in some ways, while needing all the horsepower. I've done some smaller deployments, either groundstacked subs with 3x 910LA's on the mounting platers per side, or groundstacked subs (4) and 3x 906LA per side flown from truss and genies. That worked surprisingly well and was a rather quick deployment. It could've used some tweaks on the angles from what was planned to what was reality once it all went together, but knowing how well 3x906LAs pers side worked for a smaller show gives you some idea how larger deployments can really scale. I'll probably get an extra pair of the 906's just so there can be 4 per side in a hang for some things where ground stacking isn't practical, but neither is larger hangs. Otherwise, the 906's make for great fills with 4-6 across the DS depending on the width needed covered for those first front seats.

@詩的でないナド 6 ай бұрын

Hey, I have a question. I'm a PA system manager on my school, by the way. Should I use powered mixer for the school events?

@AlanHamiltonAudio 6 ай бұрын

Hard to say without a lot more info. Size of school and size of venue? Portable or fixed locale usage? As a rule, the general answer would be a powered mixer will be too limiting and you'd be better off with powered speakers, or amps and speakers and a 'regular' mixer. The bigger the venue and the more channels and flexibility needed, the truer that statement gets. But your use case could change that...

@詩的でないナド 6 ай бұрын

@@AlanHamiltonAudio Ah, the school size is a medium sized, along with venue size. If I use powered speakers, configuring powered speakers might be less flexible than a separate amplifier and passive speakers setup. It is that they can be more expensive upfront compared to passive speakers, as they include built-in amplifiers. Additionally, repairs or upgrades may be more complicated and costly since the amplifiers are integrated into the speaker units. So there's no way I'll use powered speakers for medium-sized venue. As a suggestion, should I use powered mixer or nah? That's all.

@OUTTATIMEMTL 6 ай бұрын

how many techs and operators for that show?

@AlanHamiltonAudio 6 ай бұрын

Counting myself, for audio and lighting, 3. The tour had a BE and an LD. They didn't use a monitor console per se', but did have one other tech. Video was 4 counting director and camera ops (if I'm not forgetting anyone). Some of the cameras are operated remotely, but that still requires an op... you just don't see them!

@AlanHamiltonAudio 6 ай бұрын

I don't know how many stagehands were ultimately on the call.

@GamingDrummer89 Ай бұрын

I've never been a fan of subs under stages; just seems like it makes the low end noisy and turns the entire stage into something resembling a giant vibrating drumhead. What's been your experience with different sub placements?

@AlanHamiltonAudio Ай бұрын

Lots of variables and it seems like it's always a moving target for compromises for any number of reasons. For this show, under the stage is the only real option. Nobody would want them on the stage wings. Besides aesthetics and sightlines, there could be boundary reflections/cancellations from being 4' off the floor. And with them on the wings there'd be the center power alley, and the side nulls to contend with. Moving them under the stage, but spread wide eliminates the boundary reflections, but keeps the power alley and side nulls. Bringing them in front of the stage in this case is a 'no go' because of the position of the barricade and front row. Simply no room. So, in a line, arced by delay modelled out to be a good alternative for the room, and also has proven to work well. Flying is not an option with these subs or the way the room and stage work as far as rigging points go. Even if the subs were flyable, we still couldn't fly them here. In some situations cardioid deployments are going to work. But the cookie cutter deployment for cardioid doesn't work here due to logistics like I mentioned above. I have some more boxes now so I might take a look at the modelling in some different configurations for cardioid deployments... but the current deployment is working really well for this room with the subs in a horizontal line and arced via delay. When you start working on the issue of the subs vibrating the stage it's not really what you might think. Sure, it can do that... But look at the wavelength at 40Hz. It's approx. 28'. Moving the subs 5' forward isn't going to make any difference at all as to 40Hz vibrating the stage. Even at 80Hz, it's still like 14'. Even moving them out 10' isn't going to make any difference. The stage is going to get vibrated if the subs are within any practical distance to the stage. The waveforms down there are just too long for it not to happen in standard configurations. But that said, it's also down to the weight, construction/design/bracing and ability of the decks to vibrate in the first place.

@GamingDrummer89 Ай бұрын

@@AlanHamiltonAudio Yeah, there's a lot to consider (frankly, a lot of the factors of reflection and cancellation are above my head at this point). I'm guessing any kind of cardioid configuration with subs would help with issues you'd get with having subs under the stage (or near the stage) that are just left omnidirectional, correct? That's pretty much all I've experienced with subs under the stage: omnidirectional ones that cause issues with floor tom feedback due to the stage vibrating at whatever frequency the fundamental of the floor tom is at. That and the low end just ends up sounding noisy rather than tight.

@AlanHamiltonAudio Ай бұрын

@@GamingDrummer89 Also, as you couple subs into a line they become more directional. I don't think subs under the stage or not should cause feedback on a floor tom mic, or anywhere else, unless the system is not properly deployed and configured. I'd bet wherever that happened if you just stood silently onstage and brought an open vocal mic up, set flat on the channel strip, that same feedback would begin to happen. And there'd be nothing really vibrating the stage to start that low ringing. IOW, you might feel the lows vibrating the stage when you hear the feedback, but it's not the lows vibrating the stage that is causing the feedback. That would be a symptom, not a cause, in that case. Honestly, a lot of times low feedback heard on the kick or floor toms is really a product of the vocal mics being ran without a HPF engaged (and/or engaged at a proper point... ie: 100Hz... 125Hz... Not 20Hz). Or else vocal mics with lows turned up. So the kick or floor tom being hit triggers it, and cutting lows on the kick or floor tom can cause it to stop, but it was the vocal mics that were creating the feedback loop by what they were 'hearing'. Cutting lows in the drums just reduced the lows the vocal mics were hearing. At least this is one way low-end feedback can me misdiagnosed, and even 'fixed', but it wasn't really fixed right because the drum sound suffered in that case. This is a really good guide about subwoofer placement and different techniques. It's made by EV but it's applicable to any subs in general. electrovoice.com/media/downloads/wp_subwoofer_arrays_v04.pdf

@GamingDrummer89 Ай бұрын

@@AlanHamiltonAudio The system at my church exhibits the feedback thing, and we've had to gate the floor tom fairly heavily as a result. The way the system was originally set up was done quite poorly, and in fact, the subs are low quality (can't even find the manufacturer or product online anymore) and the crossover to them is set between 180 and 200 rather than between 80 and 100 like it should be. The vocal mics are all cut on the low end between 120 and 180 (depending on the singer), and we've seen the source of the feedback come through the floor tom channel itself even with no vocal mics on the stage, so it's not the vocal mics in our case. It's really a mess that we're having to deal with one issue at a time. If money was no object we'd probably just tear the whole system down and hire a reputable company to set it up with better speakers, settings, positioning, etc.