You are correct. A lot has changed over the past 20 years. There's been more focus on the engineering of speakers and how that engineering works with the physics of sound. Thanks for your comment.

How much sound do u get out of them rcf I looking in to gitting some

​@@stageleftaudiodo you also Remembers rca sometimes hunderd of them for 1 event😂😂😂

Spotted that as well. Simply dreadful. It brings tears to my eyes. 😱

Makes my eye hurt 😥

Anyone find out what is DJ name is so we can meet up as a team and try to train him?

yep, literally came here just to talk about that guy

Lol...

A single cut is worth a thousand boosts

Thank you for the comment.

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😂

asnmkmnmmnmmmmmmm asnmkmnmmnmmmmmm asnmkmnmmmmmmmmm asnmkmmmmmmmmmmm

Glad it was helpful!

Thank you for your comment. Good luck in your DJ work.

yep, you can setup the Presonus mixer on a network and then the musicians just needs to download the Presonus app for free and you (FOH engineer) gives each musician permission to just there mix and they control the volume. I have used this a few times and it helps a lot.

Barring the other comment above or below, the least you could do is get on the stage with your own pad and get monitors set up while standing next to the musician. Don’t make the stage manager run back and forth.

Thank you for the comment.

Thank you for the comment.

It's easy for us and the volunteers (along with other help) to read.

Sure it is. Good job!

¡Gracias por el comentario!

Thank you for your comment.

Thank you for the comment.

@@stageleftaudio I've been researching digital mixing boards to purchase. I agree with one of your comments, that it looks like the presonus is best for workflow. The series III is out of my price range, and it does look like the older 32.4.2 AI, would be better for an amateur like me to use, since there are no screens to switch back and forth to get to the "fat channel". Have you used the 32.4.2 AI, and if so, what did you think of it, besides the "Firewire" situation, which I'm working on?? Further, I saw one of your comments from a prior video, where you expressed a concern for a digital ethernet snake vs. a classic snake. I am new to this, so if you could expand a little on that concern, it might save me some money. Thanks for taking the time to bring the "nuts and bolts" of live production to us!! Carl

There's good digital boards available, but from a work-flow view, I think Presonus is ahead of the game. With digital boards, there's a lot of pushing buttons and watching screens and lights; it's a distraction compared to analog boards. We use both analog and digital; some shows are better with analog... others with digital. The Presonus Series III falls into the category of "full digital", which follows other digital boards. The AI series (second generation) and the non-AI series (first generation) are very easy to use. They are digital boards, but retain a very analog "feel". We use a 16 channel (first-generation) for smaller shows, and a Series III for larger (and other types) of shows. I used the AI series for a couple of years (mixing for other bands). It's easy to use, easy to follow the logic, and provides more gating and compressor control than the first generation consoles. One thing to consider about ALL digital consoles... they are computers. And as such, will probably require continuous maintenance with respect to software and firmware upgrades for the "expected life-time" of the board. Some digital boards have locked up during events, others have rebooted or shut-down completely. Though, I think these issues are becoming less. Maintaining a digital board requires a bit more work than analog. Digital snakes (compared to analog) are a completely different way of getting a signal from the stage to the console and back. Analog is by far the easiest, the cheapest, the fastest (for communication speed), and requires no electricity to run. Depending on the setup, a basic digital setup would consist of a Cat-5/6/7 network cable and a digital snake head (this is very basic!!) A drawback with digital snakes, is you cannot have your crossover at FOH. The "main outs" for the console are sent back to the stage (to the stage box via the Cat cable) where the crossover would sit. For some, this is not an issue, but for others (like my company), we need to have the crossover at FOH. There are some "work-arounds" to have the crossover at FOH, but I won't get into those. Digital snakes can be expensive, when considering you may need to rack the snake-head, have a UPS for the snake-head, and if you need to add additional snake-heads and/or network switches. Currently, we use all analog snakes; however, we are not ruling out digital. Snakes, whether analog or digital, are just tools to get a job done; they both have their benefits and draw-backs. At this point, we are not sure if we can justify the expense of digital.

@@stageleftaudio Thanks again!! I've been watching a lot of your videos, and I appreciate how you bring it down, to a level that amateurs, like me, can understand. Take Care. Carl and Cartman

Thanks for the comment.

Thanks! 👍

Thank you.

You can see how professional they are by the fact they are using Yamaha speakers...

@@smallbrandproductions6906 LMAO Really? As long it sounds good it's fine. Wouldn't be my first pick but.

​@@nicholasrobert9104 Well said. I started out with Studiomaster and now I'm running EV... We can't all afford Meyer... :D

We may do a video on this in the future.

yeah I was going o ask the same of to do a gear inventory, I'm working my way into the sound reinforcement side of the bizz, so id like to see all the gear you use thanks

Yeah, a gear list would be very nice....‘‘tis for sharing!

Thanks for the comment.

Yes. The yellow power cord runs from the PDU (at the bottom of the amp rack) to FOH. The rack-mounted PDU (at FOH) connects to the yellow power-cord; the UPS is connected into the rack-mounted PDU.

Thank you for the comment.

Спасибо за ваш комментарий!

Glad you like it!

Obrigado por seu comentário agradável!

Thanks for the visit

Thank you for your comment. I'm glad that you are learning from the videos. We can't discuss service rates on forums. Each show is different as well as the requirements to provide a service for that show. As well, service rates could be much larger or smaller (for the same type of event) in different parts of the country. Service rates can vary a lot between each show.

Thank you.

Appreciate it!

Thank you for your comment.

that's a little under 8 feet @ 140hz xover

The spacing between the cabinets will dictate at what frequency a power-alley will occur. The closer the cabinets, the less opportunity for a power-alleys. The spacing of the cabinets in this video are there to allow frequency coupling around ~50hz., which (due to the coupling), is heavily emphasizing 50hz out front. If the cabinets are too far apart (over ~16ft) the frequencies where a power-alley will form is much wider.

​@@stageleftaudio ok fair at 50hz those speakers are within 1/4 wavelength so you are getting reinforcement, but they should be within a 1/4 wavelength all the way up to the crossover frequency, which around 140 hz is 8 feet. How do you deal with all cancelation in the 100-140 hz range?

Frequencies around the 100hz range and up are handled by the mid/high (top) cabinets... depending on the event and where we have the xover set.

Thanks for the comment. The power distro is called a "Rac Pac" by Motion Labs. It's a 120/240V 50amp device with 6 x 15/20amp Edison receptacles on the rear.

@@stageleftaudio Thank you so much

That's the way it should be.

That changes the monitor mix every time you change the input gain. Musicians hate that.

There is an unfortunate trend in audio mixing to use the gain controls to provide a mix.

@@stageleftaudio who is saiyng something about constant mixing with the gain? You use the gain to achieve a good signal to to noice ratio to bigin with. Then you mix with your faders with some small amount, the monitor mix is prefader. When You're fader is at -50 db and your gain at +50 db, maybe you get 0db to you amplifier, but it could result in some distortion.

Thanks for the comment.

The PA covered the area it was setup for. We did not need to provide sound for the entire event area.

Great question. There's a lot of variables on my decision not to (at this time) deploy a digital solution. I use analog snakes because they are inexpensive, require no electricity, and can easily support a wide range of setups. I think digital snake solutions (not just a CAT 6 cable!!) are a great tool... however, they have their place. For us, as a sound provider working various sized events with various acts, moving to full digital would be very expensive and would require more storage space... as compared to a band using a digital setup (usually a fixed number of inputs... all setup the same way for each show). For us (as a provider), this would require a lot of redundancy for some of the equipment (CAT cables, digital stage boxes, switches, rack(s) to hold the gear; PDU, UPS, etc...). One of the biggest drawbacks with a digital solution is the inability to use a speaker management system (crossover, delays, limiting, etc...) at the FOH location. A digital solution would work better on setups where there is no need for an external crossover (i.e. Driverack)... like self-powered speakers with internal crossovers. Earlier this year, I did a video covering digital snakes and why we have not deployed a solution. Many viewers posted their opinions and experiences on the topic: kzfaq.info/get/bejne/pbxigN1j1LjDmas.html Thanks for your comment!

Good question. We did not provide an input. This question was brought up during the initial meeting with the organizers. It was decided the DJ would use only their system for their music and their announcements. The DJ was very professional and great to work with. On the business side with this type of arrangement, our sound system was setup for live sound only, not recorded music. Most DJs know how their sound system will sound and perform at a venue (indoor or outdoor)... introducing a different sound system (with much different performance characteristics) to a DJ could potentially have negative results with sound quality/clarity, which could potentially represent the DJ in a negative light. Thanks for the comment. I hope to have a video in the future covering this subject.

The green light should be solid (indicating connectivity). Make sure the console and stage boxes are at the same firmware level. Also, you will need to set where the "clocking" will be coming from, which should probably be the FOH console. Presonus has documentation available that covers the connectivity and firmware upgrades.

I agree. The stage was setup with small "sound wings", which caused us to setup the stands with a small footprint to ensure both stands (ours and the DJ's) would fit in the restricted area. Normally on events where we use stands, they are fully extended. Thanks for your comment.

Greetings. Hope you are enjoying the videos! The Furman AR-1215 is a voltage regulator. It's only job is to ensure consistent regulated power is provided for all the gear at FOH. The UPS is there only to provide power to the console and drive-rack if a power outage should occur. The UPS is powered from the voltage regulator. The UPS has some electrical safeguards in place, but it's only job is to provide emergency power to a few pieces of gear during an outage. That UPS provides enough power for the console and the drive-rack... more than enough time to shut down things gracefully if needed. For other gear at FOH (i.e. fan, FOH lights, ancillary items), these all get plugged into the voltage regulator... these other items do not need to be "on" during a power outage.

@@stageleftaudio Thank you!

The older Presonus is still in use.

Thanks for your comment. Good question. The subs are spaced about 12ft. apart. This is about the widest they can be before producing a power-ally in most of the bass frequencies. The 12ft. spacing provides coverage (even coverage) from about 25hz to 60hz, and allows for coupling in the lower frequencies (increasing the SPL). The spacing also provides for bass cancellations (with the lower frequencies) for the far left and right of the cabinets... this allows for vendors to conduct business by keeping the lower bass attenuated on the sides of the stage. Around 60hz and up, a power-ally begins to form (and bass starts producing on the sides of the stage) though, as the bass frequencies rise, they are slowly transitioned over to the top cabinets (due to the crossover point). Keeping the subs directly centered, will provide even coverage through most of the bass frequencies, however, the overall SPL of that type of setup will be less due to the lack of coupling, and it will result in a lot of bass being produced all around the cabinets throughout most of the bass frequency range. Placing the subs in the center is still a much better option (for coverage) than spreading them apart to each side of the stage. For a center-fill, It is much better to place it on the stage than on a sub. The stage is usually taller, which yields better coverage results for the crowd. Placing a center-fill on a sub will require the center-fill to be strapped down. Also, but rarely, a center-fill on a sub is subject to tinkering, liquids being spilled on it, breaking... due to attending people being so close to it. The stage is usually a safer location! Hope this helps.

@@stageleftaudiothank you for sharing your insightful experience. I never knew I would still be safe from power ally’s under 12ft. I have 4 subs that I’ll try this out with. Thanks you!

You are welcome. If you are going to use all 4 subs straight across, try separating them by 6ft (on center), not 12ft. This will provide more even coverage out front (and greater SPL) and will help with the bass cancellations on the sides of the deployment. The bass frequency coupling and cancellations can start becoming a bigger problem when adding more subs.

The speakers the DJ was using were not the same as what we were using. Using non-like speakers (especially from different manufactures) can have bad results with sound quality. The coverage supplied by our top speakers (RCF) was more than adequate for this event. Yes, the subs were on a 4ms delay.

If you are trying to get sound out of the console to the main speakers, using the main output of the console, you should be using the main "Left / Right" outputs. The mix 1 and mix 2 outputs are for monitors. Take a look at the manual for the console. It should help you with some of the basic setup.

@@stageleftaudio Thank you very much for the answer!😀🎚️🎛️🔊🔊🔊🔊

Sort of...there are 2 x subs and 2 x FOH... but also, 1 x center fill (part of FOH). This was more than adequate for this event.

Thank you for the comment. We are unable to discuss service rates on forums/boards. Each event is different and is quoted specifically for that event. There are many variables involved with quoting. You may try contacting companies that are local to you. Demographics play a big part in service rates.

Thank you for your comment. Any old equipment we may have we sell locally. However, we rarely have equipment to sell.

@@stageleftaudio Thank you for the responds but i need an advice, i use a V3000 power amp for my bass bins and a GLS C2000 power amp for my mid and tweeters, the problem is when ever the power voltage drops below 240 volts the amps drops power and hence bad sound, please what do i have to do to solve this problem?!

There could be a few reasons why the voltage is dropping. I'm not familiar with the amplifiers you are referencing. However, some common issues with power are these: - There is something else running on the same circuit as the amplifier. Something that consumes a lot power (i.e. soda machines). Make sure the amp is on its own circuit. - If you are using extension cords for the amp, the wire gauge of the extension cord may be too small. May need to user bigger/thicker gauge power cords. - The distance from the power source to the amplifier is too far; this results in voltage drops - The amplifier may be too sensitive to power fluctuations; this is usually internal to the amp and cannot be adjusted/fixed/corrected. - Make sure the amp is NOT plugged into a power conditioner. Power conditioners are for steady-state voltage consumption only. Amplifiers are dynamic voltage consumption devices.

That light is from K&M (K&M Stands 12295 Music Stand Dimmer) We find they have a good amount of light output, but sometimes too much light (depending on how much, or the lack of, light where the mixer is positioned).

Thank you very much for information. Great video, love to watch them.

We do not target db levels at most events. As long as the sound system can cover the area, the volume level is appropriate and the sound quality is good, this is the level we will settle on. Fairs/festivals (where people move around a lot) usually don't have target db levels; though, concerts, where there are seating areas, all facing the stage, usually have target db levels.

Thank you for the comment. I don't recall the brand of the DJ's speakers. Those speakers were completely separate from our system. They were only used when the DJ was playing music or talking. Our sound system and the DJ's system were completely separate.

@@stageleftaudio thank you

Limiters are used, but only as a "last resort". The Crown amplifier limiters are being used for the subs; the limiters in the Driverack 260 are used for the mid/high cabinets.

Yes, good help is very difficult to find. If you look closely in the video, there are two other guys working with me on this event. We are all wearing maroon colored company shirts.

The bass guitar was run direct (i.e. the bass cabinet had its own internal DI). The guitars were mic'd. We prefer to run direct with all guitars; which keeps the number of open mics to a minimum (which reduces feedback). However, micing the guitar cabinets usually sounds better.

@@stageleftaudio I normally try to run DI as well, but I'm ordering newer mics to phase out my older ones and I am not sure if I should buy more DIs or more Mics

Depending on the guitar amplifier, you may not need a DI. Most modern guitar amplifiers (that provide a line-level output) do not need a DI.

We use an old Canon Powershot SX20.

Al momento di questo evento, non eravamo passati a una soluzione completamente digitale. Attualmente disponiamo di un serpente digitale per una soluzione completamente digitale, ma utilizzeremo ancora un serpente analogico per alcuni spettacoli.