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Concert industry anyone else in it?

I'm not sure what else to call it for everyone to recognize what Iím talking about specifically and I don't think the people in it have a single name for it.

My Associate of Science degree is in "Show Production and Touring"

I've worked on MANY MANY local concerts in the DFW and Milwaukee areas.

I have toured the world for 2+ years as a lighting guy.

I have done FOH and Monitors for many local bands. Some ones that have become famous are;
Eisley (Moss Eisley when I was mixing them)
And many more some more famous ones that I just canít remember atm.

The most famous person I've ever worked with is Barry Manilow.

I also work on theater productions as a stagehand. I am a member of I.A.T.S.E.

With all that said I am now wondering with the number of people we have here how many other people work in my industry. We seem to certainly be a very small number and more so a very eclectic group. I mean to say you can find guys that do the same thing I do that range from pot head druggies who somehow get the job done eventually, to intellectuals who problem solve things so quick you donít even realize there was something wrong. I guess this could be said about many different careers but since I am not in them I canít speak to them.

So Iím getting a little off track but are there any others of my kind out there?
And yes Iíll let the theater geeks get included but only because we deal with the same gear. ;-) *burn*

Well if youíre out there I would LOVE to hear a good road or local crew story from you! I will post one soon especially if no one else does.

P.S. any questions from the ďgeneral publicĒ about the guys/gals behind a sound or lighting console?

p.p.s. My wife is also in the industry and thatís where I met her on a tour she joined.
Recently I did monitors for a band called Buckcherry. I dont know if youve heard of them or not. I hadnt but some of their songs were pretty familiar sounding. Well, I was using a really old crappy Crest 800 series monitor console. You know the one that was designed for the KISS tours, the first KISS tours. So finally enough of the group sends crapped out on me and I was kinda freakin out cause I now didnt have enough sends to mix a mere 4 channel monitor rig. So the boss was informed and we pulled a Y4K out a closet dont ask. So, now Ive got one hour until doors, I need to do a sound check with the headliner, Buckcherry, and get the opening acts set up and ready to go. No, no stress at all. So, having never mixed on the Yamaha 4000 mixing console, I was a little confused on some things. Most consoles are similar enough to be able to just make them work really quickly. Other consoles make you program them before you can get a sound out of them. The Y4K falls much closer to the just make them work quickly. The problem is not knowing the layout of the board youre working on. So I test some levels and I am getting levels just fine, but I cant get them to come out of speakers Then I realize ALL OF MY GROUP SENDS ARE POST FADER. So, I look for a post fader switch or something, cant find it, the band is getting a bit pissed, I say screw it and just throw faders up to somewhere close to unity. I dial in mixes for a good half hour until theyre happy enough to not continually complain about something. Finally someone stops by to see how Micahs doing with the 4k I tell them I am just fine but where the HELL is the post fader selection for my channels. Well it turns out EACH INDIVIDUAL group send potentiometer has its own pre/post/insert selection. EVERY SINGLE ONE! Btw there are eight group sends per channel and there are 48 or 56, I forget, channels. Granted Im only using 4 of them BUT! I they are located at the bottom of the tier I dont know how to explain this in text

.[.] -TOP- this knob controls signal sent to the group
[...] -BOTTOM- this happens to be the pre/post/insert not that the send knob is sitting on top of.

Maybe that did it for you anyhow if youre a sound engineer you already know what the hell Im talking about anyway.

To get on with things I find this information out and its only useful to me for the first two bands, since Im sure as hell not going to choose prefader on a mix I just did where the faders are just thrown up to somewhere near unity. That would screw my whole gain structure. So the first band in my opinion was the best one of the night. They put the other two to shame, much better playing great crowd interaction just good, wish I could remember their name

Well the second act came off the stage and I told the guitarist that I was sorry but I couldnt understand what he was trying to tell me during the last song. He told me that everything on stage was feeding back and that it was just totally horrible. Needless to say I was shocked and in pain. I knew that nothing of mine was feeding back, Id been listening to the mixes the whole set in my cue wedge. Well it turns out that the guy running FOH was the same guy that did Buckcherry and is also the tour manager. He had the room so ridiculously loud, the mains were feeding back. I knew that it sounded like crap but I didnt realize it was that bad until I mentioned my conversation to the guy I was working with. He set up FOH and mixed the first band. Well he was pretty disgusted with how it sounded out there.

Oh, and Buckcherry after the first song in there set were just happy, fine and dandy with my monitor mixes.

That happened this month and it's a good representation of some of the stuff I end up going through being a "local" guy mixing the show.

I hope you enjoyed my story there. I'd love to hear from you if you've got one!
I play in bands and run live sound from time to time. Group sends and effects busses are a beautiful, beautiful thing.
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