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The Production Academy
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Produce great live sound at any venue, and learn from a touring FOH engineer for Grammy-winning artists.
Our videos give you the training you need to step up to the mixer and blow the audience’s mind at every gig. Scott Adamson brings over 20 years of touring experience to share with you!
Our videos give you the training you need to step up to the mixer and blow the audience’s mind at every gig. Scott Adamson brings over 20 years of touring experience to share with you!
Settling a Show —Tour Management
The show must go on. Our TM course gives you the tools you need to keep a tour running smoothly and successfully.
www.theproductionacademy.com/tour-management
A big part of the Tour Manager job is to get paid for the show!
This isn't always straightforward...
Misty discusses what to do when the promoter has different ideas about show costs than the TM.
______
Scott and Misty have decades of combined experience in venues from tiny clubs to the biggest stages in the world. A passion for live music - plus the experience of pulling off thousands of successful concerts - helps us share a lot of insight to the touring world.
Our Tour Management course shares the practical skills we’ve learned in an accessible and actionable curriculum.
www.theproductionacademy.com/tour-management
________
Or learn more about live sound and touring production with our free courses:
www.theproductionacademy.com/courses
www.theproductionacademy.com/tour-management
A big part of the Tour Manager job is to get paid for the show!
This isn't always straightforward...
Misty discusses what to do when the promoter has different ideas about show costs than the TM.
______
Scott and Misty have decades of combined experience in venues from tiny clubs to the biggest stages in the world. A passion for live music - plus the experience of pulling off thousands of successful concerts - helps us share a lot of insight to the touring world.
Our Tour Management course shares the practical skills we’ve learned in an accessible and actionable curriculum.
www.theproductionacademy.com/tour-management
________
Or learn more about live sound and touring production with our free courses:
www.theproductionacademy.com/courses
zhlédnutí: 286
Video
Guest Lists - Tour Management 101
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The show must go on. Our TM course gives you the tools you need to keep a tour running smoothly and successfully. www.theproductionacademy.com/tour-management Misty and Scott discuss how to handle all those precious guest list spots. We also talk about what passes get you where... In larger tours, this falls to the Security Director - but it's often the responsibility of the TM on club tours. S...
Tour Management 101 - Hospitality+Tech Riders
zhlédnutí 487Před 9 měsíci
The show must go on. Our TM course gives you the tools you need to keep a tour running smoothly and successfully. www.theproductionacademy.com/tour-management Misty and Scott break down the concept of a rider. This can be a hospitality rider or a technical rider, both of which are often combined in a single document. If all this stuff is advanced correctly it can help eliminate all kinds of pro...
MADI (Pros and Cons) - Digital Audio in Live Sound
zhlédnutí 4KPřed rokem
For more on audio networking with Brian and Scott, check out this playlist: czcams.com/play/PLzob3VxYZGqjWQsRvZearfrT68V7uM3w4.html MADI is a common protocol for sending digital audio in live sound applications. However, it has some pros and cons when compared to other systems, like Dante. Audio guru Brian Maddox breaks down some history and fundamentals in this video. Check out our free course...
Live Sound for Musicians - Monitors
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For more live sound fundamentals, check out this playlist: czcams.com/video/3dkC3WzF7aY/video.html I run sound for a bunch of Grammy-winning artists, but started out as a drummer! I know how bad sound can make performing difficult... We run through some fundamentals in this video - and have a lot more free material on our site: www.theproductionacademy.com/
Mixer Routing Basics - Getting Audio from Inputs to Outputs
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For more on Mixer Fundamentals, check out this playlist: czcams.com/video/3dkC3WzF7aY/video.html Mixing consoles can be confusing, but I break down the routing fundamentals in this video. This is fundamental live sound knowledge, and it's the foundation of all audio routing in a mixer. I've toured with a bunch of grammy-winning artists, and am here to share my production knowledge with you! For...
Digital Audio Clocking in Live Sound
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For more on Audio Networking, check out this playlist: czcams.com/video/vxcaRrmfj_M/video.html My friend Brian Maddox is so good at breaking things down! This excerpt from our Audio Networking Masterclass covers why we need clocking when networking digital audio. We also discuss the fact that a word clock will (slightly) affect how an audio device sounds... Where my nerds at? For more informati...
L-Acoustics L-ISA for Live Music
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For more about working in live sound, check out this playlist: czcams.com/video/Iv72yfJ8VPA/video.html This webinar features two touring FOH audio pros: Lance Reynolds (Alt-J) and Xandy Whitesel (Bon Iver). They share their experience and strategies for mixing immersive sound on the L-ISA system. The Production Academy has tons of free resources for anyone interested in live music production. F...
Studio v. Live Sound Mixing
zhlédnutí 2,6KPřed rokem
See more live sound essentials in this playlist: czcams.com/play/PLzob3VxYZGqh7ivpWDUN2KXtK_7Bf_IiL.html Studio mixing is different than live! At a root level, we are taking multiple inputs sources and creating a mix. But having loud speakers in the same room as the microphones definitely changes things. In this video, we talk through a few things that will help keep your live mixes sharp: -Hig...
Get more power with smaller cables.
zhlédnutí 419Před rokem
Check out the FULL Show Power course: www.theproductionacademy.com/show-power Even though we use 120 Volts AC to power things here in the US, we can actually get a higher voltage from our Power Distros. We do this by using two Hot Legs instead of a Hot and Neutral. As a result, we can use less heavy copper cable. I explain how in this video! This is just one of the videos from our Show Power co...
Staying safe with electrical current.
zhlédnutí 491Před rokem
Check out the FULL Show Power course: www.theproductionacademy.com/show-power Safety always comes first when we're powering a show! A big part of that is using the correct gauge wires to avoid excess heat (and potential fires). There are standardizations to help us avoid issues, but we still need to understand the fundamentals when calculating power needs for a show. This is just one of the vid...
Show Power - Transformers in Live Music Production
zhlédnutí 478Před rokem
Check out the FULL Show Power course: www.theproductionacademy.com/show-power Transformers play a big role in live music production. Not only do we use them throughout our audio systems, they also play a big role in electrical distribution. In this video we cover three major points: 1. Electromagnetic Induction 2. Step-up and step-down voltage 3. Direct current with transformers This is just on...
Keep the Gig Rule - Don't Lose It Over What You Deem to be Physics
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For more conversations about working in Live Sound, see this playlist: czcams.com/play/PLzob3VxYZGqi34r0DoJe8-A1X0ERuC6bC.html In this video I chat with Kenneth Williams (FOH, Erykah Badu and Childish Gambino) and Andre Houser (CEO, Houser Audio/FOH, Philly POPS). We discuss how audio engineers should mix with their ears, not their eyes. For more information on live sound and touring production...
Yamaha CL3 - Connect the Editor, StageMix, or a second CL3 console
zhlédnutí 2,2KPřed rokem
TPA contributor Brian Maddox discusses remote control and networking. In addition to a great explanation about how networking fundamentals work, he demonstrates how to apply how these work on a Yamaha CL3 mixing console: Connecting the editor to the console. Connecting Stage Mix with the console for iPad control. Connecting two Yamaha CL3s with Remotely Possible. Here's where to see more about ...
Syncing Audio to Video (Latency issues)
zhlédnutí 375Před rokem
Learn more about working in live sound: czcams.com/video/Iv72yfJ8VPA/video.html Getting audio and video synced up for a broadcast isn't always easy. And if they're off, it can be a weird experience for the viewer. A lot of times, we just eyeball it. But this doesn't always work! Since video takes a long time to process, there can be serious latency issues - even inside a video monitor. In this ...
Live Music Production Goes Wrong (feat. audio team for Ella Mai)
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Live Music Production Goes Wrong (feat. audio team for Ella Mai)
Touring Pros discuss IEMs and how they affect our shows.
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Touring Pros discuss IEMs and how they affect our shows.
Best Audio Networking Protocol? ....Depends.
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Best Audio Networking Protocol? ....Depends.
Through the crowd, past security... to my FOH soundboard.
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Through the crowd, past security... to my FOH soundboard.
Best choice in live vocal microphone? (Sometimes you can't choose...)
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Best choice in live vocal microphone? (Sometimes you can't choose...)
Prince doesn't believe in monitors - and other stories from Paisley Park
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Prince doesn't believe in monitors - and other stories from Paisley Park
(Quick) Behind-the-scenes look at prepping a big music tour.
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(Quick) Behind-the-scenes look at prepping a big music tour.
Master control over your mixes! (Live Sound Essentials)
zhlédnutí 1,7KPřed rokem
Master control over your mixes! (Live Sound Essentials)
What are Microphone Polar Patterns? (Live Sound Essentials)
zhlédnutí 584Před rokem
What are Microphone Polar Patterns? (Live Sound Essentials)
Learn Live Sound - The Production Academy
zhlédnutí 1,2KPřed rokem
Learn Live Sound - The Production Academy
Change Inputs in a Digital Mixer (Live Sound)
zhlédnutí 597Před rokem
Change Inputs in a Digital Mixer (Live Sound)
Turn sound into an audio signal, or the other way around?
zhlédnutí 859Před rokem
Turn sound into an audio signal, or the other way around?
How to make mixes of your mixes (Live Sound Essentials)
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How to make mixes of your mixes (Live Sound Essentials)
There's a reason you like how that mic sounds! (Live Sound Essentials)
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There's a reason you like how that mic sounds! (Live Sound Essentials)
Audio Busses - Live Sound Essentials - The Production Academy
zhlédnutí 1,4KPřed rokem
Audio Busses - Live Sound Essentials - The Production Academy
Very good video, thanks!
White Jeffrey Robinson Joseph Taylor William
I like recording so much better than live audio, having done both in the past 5 years. I find the constant venue change a major hassle to deal with and hockey arenas are the worst, especially for intricate, fast metal. Running live sound is a job best left for those who love doing it. In such difficult venues, if your heart isn't in it 100%, the quality will suffer.
Hey Andrew, Yes you're totally right, it's better to do what you love. I used to own a recording studio, but prefer doing live sound. It suits me because I like the travel, and the fast workflow, and the excitement of a show every night. But I have a TON of audio engineer friends that like recording way better and prefer being at home - definitely everyone is different and it's important to find what works best for you personally.
MADI her? I barely know her. LMAO!
I can see this would be a good way to set the gain structure during sound check. But for my case, in small clubs, I don't get a sound check that's all that useful because nothing is done gig volume. So I have to do the gain staging while performing. That's quite difficult and I suspect a lot of bands have similar experiences.
Wow! That was a very concise, very clear and excellent overview signal vocab. Excellent!
Glad it was helpful! Check out our site for some free courses on all this stuff.
I'm learning studio mixing on my own and would like to eventually do live mixing for concerts and church. I didn't understand a lot of what you shared but I think it is all helpful information for my journey. Thank you; I subscribed.
Glad you’re learning some things! Make sure to check out our website - there’s a bunch of free courses there that are perfect for studio engineers to learn about how we do live sound.
Is aux sends how i would set up commentators to be able to hear each other but not the rest of the mix?
So I was taught to set gain prefader off? That the fader was just channel volume- but I have been getting terrible feedback ( monitors have been running off 3/4 aux - same mix as foh- seperate master volume- my Allen Heath was not as “ hot” as the Yamaha- seems I’m barely Turing up the faders and master to get to the appropriate volume level ( like 3). This seems awkward to me/ as other videos show gain settings with master and faders set to unity-I have never set my gain this method - but thinking it might be the way to go- hmmmm- confused
MADI seems much more stable and reliable. We had plenty of issues with Dante at my church for a while and when you have to freaking log in and jack around with routing parameters and the Dante network router just randomly says eff you, it seems needlessly complicated. MADI is point to point basically. No logging in. No passwords or accounts required. Just connect and configure routing and walk away. I do see the plus side of Dante it just requires so much work on the front end and you better have solid network connections.
Harman target chinese iem 😅
Hi, Great video. How does one physically wire the network so that you can have stagemix and cl3 editor work simultaneously?
Wouldn't be easier if protools, for instance, send midi events to light systems to trigger scenes?
MIDI is not as tight as SMPTE when accuracy is required. It loses datas here and there, it is unbalanced signal means very reactive to interferences such as jittering. It suffers of latency where SMPTE doesn't and this factor increases when long cable runs are needed or when you work with more complex systems. Other than that imagine sending MTC for light and sound and not everything just works fine... for audiovisual multimedia is crucial to work with SMPTE as it works highly accurate within the range of hh:mm:sec:fps. If you need only to send cues to move an audio console fader and programs then MIDI would be easier, yes.
@@RiccardoMenegonAudioDesignerthanks!!
As a visual learner, your diagrams really helped break it down for me. Thanks!
Glad they helped! Thanks for the comment.
Do you have a few recommendations for mixers that allow for more than 1 subgroup? I would be great if such mixer had a feature like a few behringer, where you can Monitor individual subgroups in the control group without interfering the main mix.
My band is getting ready to do it's first public gig and we are using an Allen-Heath PA28 mixing console. First question has to do with keyboards. I have a Yamaha P225 digital piano with weighted/ velocity keys. The local volume control will effect the gain setting, along with how hard the keys are hit. Should I set the piano volume midway as a starting point and should I hit the keys hard when adjusting the mixer gain? Second question is which instrument do you start with first when setting gain? Should it be the drums then adjust all other instruments relative to them?
Great questions! Seems like you have a good sense of how gain structure works, which is the most important thing. If you understand that each piece of the signal chain is affecting the overall gain structure, you’re 95% there. So with the keys, setting the volume at halfway is definitely fine, as long as the keys player understands that turning up the volume on the keyboard will affect everything after that, including the monitors and FOH. Sometimes you want a little wiggle room to be able to do that! However, many times I’ll just have the keyboard player just turn the volume all the way up so there isn’t an unexpected boost midway through the show. Another thing to consider is that if you’re using an active DI for the keys a hot line level signal can clip it, and might just be too hot in general (which is why I generally use passive DIs in live settings). Anyway, yes you should generally set the gain while you are hitting the keys (or any instrument) at max volume. If you set the gain with a quieter sound and it gets way louder during the show, it’s tricky to adjust the gain since it’ll affect the monitors too. Starting with drums is pretty common, and that’s what I generally do. Kind of depends on the style of music. If it’s, like, a jazz combo, the drums aren’t driving the mix like a rock band, so it’s a little different. But when the drums are loud and solid, starting there makes sense, and everything else can be set relative to that. Hope this all helps! Just hit me back if you have questions
What if not using DI, MIC direct to Mixer. The distance about 10m from stage to mixer.
4:08 Definitely polarity, not phase! It's like AM vs FM, X vs Y, up vs right.
analog is always nice if you don’t need all the functionality of a digital desk! really glad you like the series, i’ll be making more soon!
Great series, guys! Loved them all. I don't have a digital desk but use a Mackie 24-8 buss for my home recording. If I was a sound engineer for a living I would go digital for sure. At home though...the analogue desk is an inspiration. I don't feel as attached to a digital console like I do the analogue desk. That A&H desk looks beautiful though...thanks for these tutorials 🙏🔥
These groups /aux busses...do they make the mix sound better than if you put Eqs effects individually per channel?
good question - you should use EQ on the individual channel if that specific input needs to be shaped, but use EQ on the aux or groups if you want the overall tone of that mix to be shaped. i try to use the individual channel EQs to get a good mix of the inputs, and then if like the room is boomy or the PA/wedge is bright i’ll use EQ to compensate for that on those output busses.
AVB is really miles away more solid than Dante. I use Dante for some time then switched to AVB..........end of history.
Yes, I'm with you here! But Dante is so ingrained in our audio workflow right now, don't think it's going. anywhere.
I'm trying to send the SEMPT signal (WAV FORMAT) from our backingtrack player (CYMATIC) it starts running but timecode stops after 5 secs...do you have any idea what it could be?
Hope one day there'll be an international standard protocol for parameter control like analog gain or 48V or phasing over Dante, making a mixer made by a brand natively compatible with a Dante stagebox made by another brand. Also I'm looking forward to see in the future that some DAWs and virtual rack softwares will have the ability to process Dante streams directly from and to the computer's Ethernet adapter without all the hassle of Dante<->ASIO conversion. If this can be achieved, there'll be a powerful rival against Waves Soundgrid.
Why do they say set your faders at 0 when gain staging
This is Unity Gain, which is where the gain stage is theoretically not boosting OR attenuating gain. Running everything at Unity is ideal for live sound systems - you don't want to boost 10dB at one gain stage then cut 10dB at the next gain stage.
Slick video!
Thank you for sharing. I really enjoyed the analogy of a neighborhood that assigns a IP to each house. I have such a hard time connecting my iPad to most Yamaha boards. I keep getting connection errors. I find it very frustrating as I use the same iPad and wireless router on all my gigs and with many different digital mixing consoles, (Midas, Behringer, Soundcraft, etc) and only the Yamaha boards have issues connecting.
Very helpful, thanks for the explanation.
So they intentionally use dBA to push the volume beyond healthy level and pretend that it's normal. A lot of people should be sued.
I actually don't think it's intentional, it's just that dBA has become the standard when they should probably be using dBC for concerts. Honestly, even with most dB limits (either A or C) most concerts are well beyond what is safe and healthy. Earplugs are your friends!!
@@theproductionacademy that's what I'm saying they just agreed on the standard that is easier to achieve, as dBA works more predictably for various genres I guess, even so it damages the hearing. I even use earplugs in movie theatres nowadays, because it's just uncomfortable when the volume jumps to 100dB at some stinger or explosions.
This video actually helped me get so much more out of my PA system. Awesome help!
really glad to hear it!
MADI isn't necessarily limited to multi-track point-A to point-B signal routing. A MADI stage box can easily replicate its digital signals, eliminating the need for expensive and troublesome analog snake splitter cables. It can also support master/slave console priority, making it easy to use an on-stage monitor mixer on the same MADI router with a remote FOH console.
What a Excellent brief explanation , I'm looking at rest of the comments ,and seems that Everyone agrees ! You should write the Brief book on audio ,A quick read and BEST SELLER Happy New Year !
Thanks! Really glad everyone is enjoying the explanations. I'll have more to come soon - happy new year!
The Production Academy rocks hard! Thank you much for all your videos. So much good info. Peace
Thank you, I appreciate the information. I had to stop halfway through for a rest from the background music.
Just beautifully explained! I got this cleared once and for all. Truly appreciate it.
Glad it was helpful!
Would it be useful to convert a headphone level signal to a Mic level signal? For example, you have a device which has no 'line-out' but you want to patch it into a desk. Or do I just need to lower the volume of the headphone signal at the source.
'PromoSM' 🍀
Didn't you have a few videos about Taylor Swift audio rigg?
Was just looking for that aswell.
yeah sorry, i’m limited with how much i can share with that. will have some more up soon about some other shows i’ve been working on…
This content is absolutely great! It is so difficult to find people working in the live music industry that offer concise information. Love it!
thanks for sending the nice comment! i’ll keep it coming…
Dynamic range is hard to accomplish while broadcasting. Then getting the pastor's inflections across with the compression broadcast calls for.
Hi Scott, why did you removed all the recent videos from the Eras tour?, those had super valuable information!
hey sorry i had to take them down. email me at scott at theproductionacademy dot com and i can explain why.
@@theproductionacademy Ok thanks Scott!
I WONDER my dante multitrac recording is giving a lot of latency issues. as clip duration increases clip appears to be stretced. i am using 64 track recording via cl5 rio in daisy chain
Is your DAW in which you are recording, set to sync to external clock?
Great videos Scott! You present your talent exclusively to the audience very precisely! I have setup a system where I have a full depth 16U Mobile rack with on its Front side, I have setup FOH with a dedicated Presonus 24R rack mixer and on the back side of it another Presunus 24R rack with multiple patches relaying the inputs to the FOH mixer as a separate clean signal for processing for the FOH. Of course both sides have the necessary Router, power conditioners, patch cables etc. setup. For the IEM side, I am using wireless IEMs for the band with the Phone app control for each mixes for each member(s) of the band. Everything is pretty much enclosed in that rack with a 4U Drawer where I carry the Microphones and some essential cables, body packs in that drawer. For the FOH side, I plan to use the mixing software provided by the mixing console on an iPad. It is so exciting to have that all done but I am not sure if this FOH/Monitor mix package could work well in practical situations. Since the band would have the flexibility to adjust their mixes using the mobile app on their phones, I feel like there is no need to expose the rack to either to the FOH or Monitor sides because I would be able to move around (and communicate with them) and with my iPad, I would be controlling the FOH ambiance and while on the same iPad (on a different IP), I am able to keep an eye on the Monitor (or IEM) side mixer as well. Do you have any practical experience of using them as a package like my explanation? Thanks.
Question, I was trained to put the fader at unity, then adjust the gain till the signal “fills the room.” But upon reading my user guide (an Allen & Heath Mix Wizard 16:2,) it tells me to do that with a headphone. I found your video trying to learn why. So why choose the headphones over the room? (When it comes to setting the initial gain coming into the mixer, assuming just a straight mic going into the channel.)
Because a Variable that isn't assumed in your equation is the SPL level of your speaker, and your rooms characteristics. It's possible to have Speakers that are way louder than you need for a space, or way quiter. The best place to compensate for this is on the Main LR Master fader. Setting your Gain staging the way the video presents, will allow all the tools like Compression, Gating, FX, Etc., to have a solid enough input signal to work properly. Gain staging is inportant for more things than just volume.
When I'm setting Levels and Gain staging a system, I will use a Reference track that I know the volume levels for. I know How certain songs should feel in loudness when played in a well tune room, So at Unity volume on the fader with the levels just peaking into the yellow, it should feel relatively similar in a larger scale.
That's some good stuff. I'll try out gain staging off the headphones now, and I'll have to dive into SPL and figure out how it works and applies to my live sound situation. Thank you@@ArtificialBangers
Great video! Do you use NDI Direct for your return audio feeds or some other audio IP protocol?
AES out of the console for the drive lines, which is pretty standard.
They can call it whatever they want to. But in a blind listening test ... You won't be able to tell a difference between different audio cables. Just wishful thinking - Moreover, nobody can explain what "unbalanced" supposedly sounds like. It has FAR more to do with speaker placement and room acoustics than cables.
Hi Scott, What I'm trying to get at in the video is the distance you can run unblanced vs. balanced. In live music situations, we often have to run cables long distances, and you can't run unbalanced cable very far without audible signal loss (only about 20-30 feet). I'm not really debating anything else about the cabling (like the construction of it). But if you ran an unbalanced cable 100 ft, the signal would not be useable. You're right about some of the marketing on cables, like "gold plated" connectors. A lot of that stuff is super minimal, at best.
@@theproductionacademy - Yes, and the only difference here which might possibly matter is the great length the cable is being stretched. I'm just curious to know if you've tested it all with totally ordinary cables. You know, everything identical EXCEPT for the supposed quality of the cable. I'd sure love to see a sort of double-blind listening test of that - cheap cable versus expensive cable, when the length is ridiculously LONG. Experience tell me this - Never use an under-powered amp for you speakers. Use kick-ass speakers which have a very flat, wide response. Have an acoustical space which works in your favor, rather than works against any advantages you've achieved.
@@theproductionacademy - Just how long does a cable length need to be before any actual real verifiable issue is determined to exist? And HOW is it determined? With your ears? Or with instruments which essentially measure nothing whatsoever? Too damn many snake oil salesmen. OH - live music situations. ? Hmm, you mean maybe outside concerts which are hardly "high fidelity" to begin with? Hey, so what is the solution? Just use much shorter cables, and put your stuff closer together?
@@scotthullinger4684well not mentioned is that a balanced circuit signal is higher voltage and will therefore be louder. Today I plugged in equal quality cables but xlr and a balanced circuit from dac to preamp. Very noticeably loudet but also sounded superior to unbalanced rca connections. Again, comparable cables DH Labs air matrix. If you think cables dont matter I assure you they do, but choose wisely.
@e-np3zk - The only thing cables do, and the only thing they're capable of doing, is carry a signal. You wouldn't notice the difference in a blind listening test. Just old wives tales. Those magical cables are for suckers with money who are gullible, period. Speakers are the only thing which matter for sound quality. You just need an amp powerful enough to avoid clipping when the volume gets loud and/or there's a lot of bass.
Blesseds 🙏🏽👏🏾👏🏾👏🏾❤️
😌Who will adopt me into the music business? I've got experience in AV production😩🤲. I need a boss, like a master that will adopt me and I'll serve under. I need a job/post in the touring Field😢
VERY well explained to the point and easy to understand, thanks Scott !
I'm doing a marathon run and watching all your videos... GOLDMINE