That's two gigs a weekend, isn't it? As a rule, both of the gigs went quite nicely, but again, they didn't solve the problem.
Thursday 9.6 / preparations
I ran into Trustees' reins to get Soundcraft's tables updated to the same company at the end. I wasn't interested in fighting with the problems that Tullisal had in December.
The second counter (monitor counter) was already in the latest company, so the main table was being updated. We downloaded With Ervelius, we have new fillets, and we have the table updated. After a while of waiting, we concluded that now it has probably updated it, since those Expressions are not very clear about the information to provide on the success of the update. On the table, a bot, a new company, that's what it looked like. Great!
Trusties had only used a smaller monitor counter to listen, so now that the main table was on the set, we started by tapping the channels into the main table. At the same time, the Gain control was moved to the main table. The boys started their reenings, and I ended up redoing the bottom of the Trusts from zero, so I'm sure no old thing will come along. Dynamics, eq, effects, and levels per hectare category, and show recovery. I think we can get to Friday's job, which has already started pretty good.
Friday 10.6 / Cocardi Club
From a technical point of view, the band is excellent, because the band has technical expertise at least in gloves. The band is not only J.Ervelius, but also M.Oikarinen and J.Pohjola, who are all hardcore sound guys. And the rest of the band doesn't have any ambiguity about how and what, even if it's connected to a wire. Put your stuff in, put your mikes on, put your wires on, and I started working on PA...
Silence...
Well... Are these the width again? Channels came in the mixer as it should, sounds are heard on the FOH counter, listening (monitor counter) works... but PA is silent. I tested every possible stagebox output, tried the rotation changes, switched the wire, but nothing seemed to help. This was the only one I didn't test the day before, and I guess there's a problem. At the end, I tried, directly from the analogue output of the main table, to the PA, and look how it started to sound. So everything else works, except for the stagebox output, no. Well, this wasn't the end game problem, since the analog wires came from the mixing point to the stage, so it's a success.
So I got to start setting up the PA, and the boys kicked the sound check right after, where I specified the prefix of the previous day. The place seemed a little "down-low," so almost all the bass-frequency boosts changed for surgery.
The lights were handled by a professional, and the job went very well at the end of the game, and no other technical challenges were presented. I think, after the show, someone even accidentally bragged the sound. 🙂
Saturday 11.6 / Iced City Rock
We decided with Janne that we would take a turn in the hangar before moving to Jääl and check the tables again. The problem of the previous evening was known, but it was also possible to live without the stagebox's outputs. Well, it turns out the monitor was in my hands, while Janne handled the FOH. There were no old Afterworld monitors left on the monitor counter, so I went to build a setup from a clean table. Ruptures first, and then to finish the necessary channels. I ended up with this job going minimum, and the drummers cut out all the useless stuff. In practice, I picked up channels: 2x bass, snare, bass, 2x guitar, 2x syna and 3x song. Yeah, well, there's nothing left of that, except the tomars and the ovars. 🙂
The EQ was an acre of what was needed, so I already screwed them, and I've already scraped some of the channels I knew the guys wanted.
Entry The ice cream took place on Kassinen's bus, so for once there was a running game! The weather happened to be moist, but I finished the stuff by the stage without getting wet. The scaffolding and channel check was 45min, so there was a hurry.
Time came, and we hit the set. Surprisingly, that time began to run out, until we got everyone in the loop, and then we had a quick check. It was estimated that about 5 minutes before the start of the show was all set. Even the water began to support those times, to such an extent that the water in the monitor mixer's booth began to exceed the "supply" of shoes, and at the same time the socks were wet. It is this summer of Finland...
A little rain didn't bother me, and I set the mixer from the case to cover the decks, so that the spatter of the water running from the roof of the tent as norona does not wet the mixer. Janne rocked the intro, as the guys climbed on the same stage. During the first song Snecki showed (probably for the first time ever?) that sin even smaller on the monitor. Well, that's good. There were no changes in the language of listening, which even surprised me a little, although it has been customary that changes should be made after the first song if necessary. Of course, I always follow the situation through the job, and the further the job goes, the less the monitors need to be tackled. Sometimes, of course, the singer starts to run out of the rest of the show, and that's why they want more of themselves in the monars.
Well, I guess there was another song going on when it started happening, or should I say, nothing happened since the whole stage went down. There was a water source somewhere, and it turned on the fault power shields. All steps, from the stage, as from the FOH in the dark...
I was looking at my own mixer, and I said, "Case's covers will cover it well enough, and it's not that." Of course, the stage electricity was partly in the rain, which may well have been the cause. On the other hand, when all the steps went dark, it is possible that the water had entered something a little bigger. After a few minutes of waiting, the electricity came back, and the dishes went back to the fire.
The boys already got back on track, while Sneck was screaming, "He's not getting anything from the monitor." I checked the mixer, and everything was fine there. There was so much lumpy already, I couldn't communicate from the mixer, so I stormed out. While I got there. To Sneck, he said he was coming. We're good! 🙂
And, of course, the rest of the job went pretty well. The clothes were wet all the way through, and the water between the toes would squash, but what the hell. Looks like Jani got some kind of tin out of the set in the middle of the job, but they did good, though. 🙂
When the show is over, the demolition of the stuff is fast, so Woyzeck can gather his own and, as you might expect, the rain almost stopped in that context. Maybe it was hanging a little bit, but at least it didn't come by pouring. 🙂
After the gigs, Janne and I thought, "What do we do with these Soundcrafts and what do we do with them?" They do work in certain situations, but there is no full credit for them. Of course, the last blackout was in no way up to those things. Some kind of thought was received, which could be the solution to the future...
Monday 13.6 p.m.
Janne called, said the thought solution was now ordered. So, as long as we get the comb, at least we'll be doing the gigs in the future. Allen & Heath SQ-6 At the counter. Monitors are run on the pavement, so a separate monitor counter is not currently acquired for this coverage. And, of course, I do. Behkun X32 and Midas M32C, so let's start with that, and we can always choose mixer (s) according to the situation.
Wednesday 29.6
For a while now, I've been seriously considering moving Afterworld to IEM. The challenge here is that: SQ-6(AR2412) contains only 12 outputs and when PA catches two of them, only 10 remain. This, on the other hand, is not enough for six guys to tap stereo. Of course, there are expansion units available for that, and there are also bigger boxes (quite expensive...), but we ended up getting it when 24 inputts are enough for most of the gigs.
I think the solution is: splitta signals coming from the stage before the pickup box and the second fan from the splint goes ARI'll take the other one. S-32 for a box connected to: Midas M32C.
And here's the advantage of getting me done. M32With: all channels are suitable for listening, and pa-saunds do not "mess" the pattern. Also S-32 the box has 16 outputs, so you can return the stereo to everyone.
The IEM allows for more standardization of listening setups and the accumulation of the concert set is significantly accelerated. Guys also have the opportunity to adjust their own wiretap, even by phone. For my part, the situation will also improve when I can use the furnace to adjust listening, and it is not so spot-bound as not having to sit next to the mixer and make adjustments based on handsignals. Now I can take a wallet next to a friend and ask him what to change. Of course, it has been possible to use it in Saundcrafts, but somehow in them, the logic of the network settings has not pleased themselves and always left a little uncertain. On the Midas / Behku side, it is much more logical. In addition, when I own X-Touch the controller, if physical sliders miss, it is possible to add them to the setup.
In practice, the connection is that there are three 8-channel splits in the jacks, from which the fan is connected to the same jab AROkay. The other fans are then in the box ready for the listening counter, which can be quickly connected. Now too ARThere are extra outputs, so it is possible to build communication between PA / Monitor, if need be. The only thing you need to decide in advance is which counter will handle the phantom flows, as this affects the connection of the splits.