Sound system setup using an A&H QU-16 at the Carolina Inn - Event Video 39
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- čas přidán 25. 08. 2022
- We are mixing for "theGroovynators" at the Carolina Inn in Chapel Hill, NC. It was a hot day. The video covers load-in, sound system setup, line/sound-check, a few clips of the gig, and load-out. A little more detail included with the line and sound check.
The console for this event: Allen & Heath QU-16. FOH speakers are: RCF NX 45A (tops) and a single RCF 8004-AS sub. A lot of people attended this event!
The band:
www.reverbnation.com/theGroov...
I enjoy watching it.
It is a video that shows the situation at the site well, and you can understand the feeling, including troubles.
I wish you all the best in your future endeavors from Japan.
Thank you for nice comment!
Wow thats my dream FOH speakers.. nice setup, the soundman great the sounds settings on quality output.. i hope all the equipments are safe to the rain. & SL Staff keep safe also And Godbless.
Thank you!
Watching all of your well-taken-care-of / like-new gear get rained on almost ruined by day.
Man,I hope these gigs in NC are paying you well enough. I don't know how you do it - but you've certainly earned respect.
Thank you for your comment!
Sadly, things like this are par for the course; I hear you though. Nothing worse than packing down in the rain.
it was a hot one, for sure, but you kept cool throughout. thanks as always for what you do
It was a pleasure mixing for you guys again! At least the rain held off till the very end!
Love your videos. One thing that amazes me is that on these small shows how do you afford to have so much help. When I do show even way bigger then this I'm alone. You guys must be getting paid really well for these smaller corp events.
I suspect there is a little win some, lose some in how Stage Left does their business. If I have a low budget event, I essentially take a bit of a hit so I can hire some help if I need it. I sometimes have people volunteer to help me, but even then I'll still send some money their way and make sure they are fed and watered. The bigger budget events have more margin, so I offset some of that against the low budget events if I need to.
Great job!!! With the Allen Heath QU You can use a external router and a IPad to mix away from FOH works very well
That would work.
Another great video.
Yea, no other way to put it, shows in the rain suck.
One thing I have been using is reusable desiccant packs I bought from Amazon. Around 100 grams great drying out cases and generally keeping the humidity low in the summer. I was surprised how well they work. Then dry them in the oven or microwave.
Keep up the great work!
Saya dari jakarta. Senang melihat video video ini.
Terima kasih telah menonton!
Luckily it wasn't a wind driven rain like we get here in Florida. There's no hiding from it when it comes in sideways.
Exactly!
Thank you so much for another great video. I am incredibly inspired every time I watch your videos. Can you tell us a little about what you have in your cabinet at the mixer with, among other things, UPS. Many greetings from Kim from Denmark, big fan of yours.
Good to see you are still watching! Thank you for your great comment! That rack is what we use when we are using a digital console at FOH. The rack contains a voltage regulator (provides stabilized current to everything at FOH), dbx 260 (driverack - which was being used as a high-pass filter for this event), Ashly crossover (analog - used for backup only), and a UPS (for sensitive gear, i.e. digital consoles, switches). The UPS helps maintain a steady current for certain FOH gear and is only there when a power outage or power issue occurs; it will keep the console and driverack up. For our analog rig, we only use a voltage regulator (no UPS) for the entire FOH gear (console, outboard, etc...). Hope this helps!
Our most recent gig was at a summer festival. The power was sketchy, at best. While only the drummer was running his kit, Tom, FOH, had walked out front from his side stage position (no other place to set up FOH) to listen to the drums. Then pop. The Peavey IPR² 7500 sub amp gave up the ghost. Fortunately, Tom, always being prepared, had an IPR 4500 as a spare. The venue had to change a breaker. Show went on without any further issues. The amp was sent to a former Peavey technician. The amp received an over-current and fried the circuit board. The amp for the mains were on a different circuit.
Always painful to hear about equipment getting fried! And to be running sound in a questionable hall... that can be mentally exhausting. Thanks for the comment!
@@stageleftaudio It was outdoors on a Catholic school property. The electric service was plywood with two circuits of three quad outlets fastened to a pole with a temporary circuit panel on the opposite side. All exposed to weather. Once the power was sorted out the event was a blast. A couple hundred people in front of us in the beer garden. And a thousand plus at the carnival rides. A great time was had by all. Instant invite back for 2023. A good band and good sound company make for a great event. I hope I never again have to mix our show from the stage while playing.
That temporary power setup sounds about normal. Kudos on getting called back!!
4:36 Just to note: carrying a snake like that can risk damaging the connections between the stage box and the multicore, so I always tend to carry by the stage box as well
Good note!
Depends quolity of stage box. high quolity staff surrives mutch more.
GREAT JOB..... ok but why do u have the 2 way /3 way mono crossover there with the driverack ...i'm starting to think I need one but my speakers are powered speakers
Thanks for the comment. That analog crossover is there as a backup only. The dbx-260 is the main crossover.
I notice you have a analog Ashly crossover and a dbx drive rack in your rig, was just wondering why you chose the dbx over the Ashley protea . I hope nothing got damaged in that rain and thanks for sharing another vid.
The Ashly crossover is for backup since I saw that they use the dbx for the main crossover and the Ashley crossover will be for backup if the dbx fails so is good to have backup
The Ashly you see in the rack is only for backup. I considered the Protea series (very nice units) when looking at upgrading from the dbx driverack PA series I originally started with. I moved to the dbx 260 because it was very similar to the PA series. Also, moving to the 260 kept the "management" of the speaker system fairly the same as the PA series... this made it easy for the other guys to use. Thanks for the comment.
I know how Dennis feels. I help the sound company set-up always. We're loading in typically 4 hours before showtime. Then I play bass and sing for 4 hours, then load-out. The following day is spent sleeping 😂
It's a long day!
@@stageleftaudio The multi band, all day events, on hot summer days are the ones that knock me on my butt for at least a day. Load-in and load-out in the dark is always fun. 😳
Those are hard shows to do!
@@stageleftaudio When those events come up and I'm working with the sound company, usually as stage manager, I take the day before, the day of, and the day after off from my day job.
We do a local high school pep rally in the gymnasium the Tuesday before Thanksgiving. Full sound and light production. There's 4-5 of us loading in 7 hours before the 90 minute pep rally. 2,000 kids and the marching band. We run 4 Peavey QW 218 subs and 4 Peavey QW 2F mains with approximately 35K watts between two amp racks. We mount about 30-40 puck lights and gobo lights around the gym using dmx and a controller to run the show. Lights look great, but they are a lot of work and programming. And from where we park to where we set up is about 500 feet apart. A lot of walking back and forth. I'm exhausted thinking about it.
Nice to see you are able to take time away from your regular job. Sounds like a nice production you are involved in. Yes, the lighting, and programming, is a lot of work. I contract lighting out to other providers if my customers have a need for more than a basic stage wash.
Good to see you are using the QW line. We used to have 4 of the QW2F as well. They worked great, but were way too heavy to manage (by myself) for some shows. I moved to powered tops after selling the QWs. Sounds like your 7 hour setup could be down to maybe 5 hours without having to walk that huge distance. That is exhausting.
What is the material you used to cover the back of the speakers?
It's a black sun screen mesh. It's normally used to block a lot of sunlight (not all) over patios.
@@stageleftaudio thank you
Hope your gear is all good and did anything got damaged from rain or no
Thanks for the comment. No issues with any of the gear!
Does Stage Left Audio got resourse have outdoor event for rock concert? Or something other extra loud.
We have other sound system gear for larger outdoor events.
@@stageleftaudio Ok. That was what I ask. I watch your videos and seen many different setup and wondering are there for larger events. :)
👍☑
is it just me that is annyoed by the plastic on the screen of the console? XD, Nice as always to see some concerts or events from around NC!!
Thanks for the comment! The plastic on the screen is being used to protect the screen. At some point, the plastic will wear out, and I'll probably get more plastic for it. The plastic has done well protecting the screen against things like pen drops, sweat, etc...
@@stageleftaudio well that makes sens. For me its just annoys me, althou if i were to need an protective screen i would probly order like custom cut screen protector cuz that would be less anoying, thats just me thou
How are you liking the qu-16? Opposed to say the behringer x32? And have you thought about getting a digital snake to run for these events? Little less setup time!
The QU-16 has been great. Its work flow (in my opinion) is a lot better than the x32. We have considered a digital snake, but there's a lot more involved (and cost) to implement a digital solution... as a sound provider. We do rely on having control of the crossover at FOH, which we can't do with a digital solution, unless we move to network capable speaker management systems... this would add more to the cost. For right now, we will continue to use analog snakes.
@@stageleftaudio ah I didn’t think about that, as i use one but i use either the crossover built into the board or/and one at the speakers but i have the snake and amps and crossover at center stage! I’ve been thinking of getting a qu-16 however for more involved events as right now i use a qu-pac and it works good but i still prefer faders in the heat of it lol
For the sound system in this video, we used the internal crossover on the sub. For larger shows, we use a dbx-260. We will always use physical consoles as part of our services, however, if a band has their own sound system and they use an iPad, we'll mix for them on their iPad.
What speakers type you use for foh and front monitors?
The FOH tops: RCF NX-45A ; the Sub: RCF 8004-AS ; monitors are Yamaha CM12V (passive).
@@stageleftaudio which better rcf nx-45 vs rcf art 725?
I have never listened to the ART-725, so I'm unable to comment on it.
@@stageleftaudio thank you for reply. Im always waiting your new video🇮🇩🇮🇩
That single 8004 was enough for this?
Yes. It's a 1200 watt (RMS) cabinet and was enough for the size of the crowd and coverage. The sound system was not too loud, but was loud enough to cover the entire area. I'm impressed with how well that cabinet performs.
same problem as mine qus buddy named EFAN🤣
must be a good keys player with some really dialled in patches if you don't have to do any EQ... I usually find keys to be too low endy, with not enough upper midrange to cut a mix. I suspect they do this to try and make the keyboards sound big and full in the store through the onboard speakers, and thereby sell more units.
Yes, the keys are not heavy on the bottom end; he's done very well with the patches. He used to bring a Leslie to some of the shows (years ago); it took a little work (not bad) to do some correction on the low-end... it was dependent mostly on the venue.
@@stageleftaudio man, it’s rare I get to mix a real Leslie, but it’s always fun when I do! As long as I have the real estate to put 3 mics on it 🤘🏻
32/8 snake.. need to go digital. Carry 3 Ethernet cables. 2 are 100 foot each, and one 50 foot. with those and 2 couplers, can deploy any length in 50 foot increments from 50 feet to 250 feet. 32 channels in and 16 channels back using either a S-32 box or 2 S-16 boxes. Advantage is all 250 feet of cable and the couplers fit inside a laptop bag with the laptop.
I agree. A full digital solution would be nice. However, there's a lot more involved with digital than just Ethernet cables. For us (as a provider), it may be different than, for example, a band with a full digital solution. We need stage boxes (as you referenced), switches, racks to mount stage-boxes, UPS/PDU for stage-boxes, cabling, and some backup components as well. We use A&H and Presonus digital consoles, which require their own proprietary digital solution... this would be extremely expensive to implement for both consoles. We may move to full digital for the A&H to start. Thanks for the comment.
@@stageleftaudio I went digital last year and have not looked back. Eliminated the FX rack as it is all in the console now. Have not yet gone onto UPS and have not had problems yet as an outage takes the amps and speakers down too. Do have power conditioning for spikes. Console retains the last configuration as default including slider positions, so an outage reboot is relatively short and back to last console state within 5 seconds of the loss of power so after reboot, pretty much where you left off. Using a Midas M32 with a S-16 box and upgrading soon to a 2nd S-16. Currently filling in with 1 12X4 analog snake. Will be nice to replace that with the 16X8 in the S-16. The S-16 is very shallow and fits nicely in a 2U short SKG box for easy protection and transport. Found the box with a handle much easier to use than a long snake.
Looks like you are doing good with digital. The UPSs I mentioned would be for the stage-boxes and switches only, definitely not for the amps or anything else! Power/current fluctuations can cause issues to computer devices like consoles, stage-boxes, switches, etc... the UPSs would be used to maintain steady current for anything computer related. We use a UPS/voltage regulator at FOH to maintain steady current for the digital console we are using for that show. Good luck on the 2nd S-16!
@@stageleftaudio Thanks for the feedback. If possible I plug into 50A 250V service and always monitor the power. Avoid small gauge power cords in any long run as that is a problem with power amps and computers on the same branch. Distro for smaller shows is 6AWG twist lock except for smaller indoor shows. Larger outdoor shows with the company is often 200A 250V lugged in for the 4th of July, County fair, etc. With that, we generally have very little voltage sag.
The National Electrical Code lists what wire size is recommended from the service panel for various loads. Use this for a guide when doing a show. If you have 100 Feet of 12AWG extension cord and the outlet is 75 Feet from the breaker box in a building, then your power available is quite limited to remain in the specified voltage sag. The limit for a 3% voltage drop on a 20A circuit at 120V is only 53 feet. A longer cable including what is in the wall, can cause the 3% voltage drop limit to be reached.
Good info. For our larger shows, we too use a 50A/240V service provided by a Diesel generator, which yields great results; no sags.