Follow a top-tier live sound engineer around the setup for a Rush concert in a 12,000-seat arena show in Denver, Colorado.
Overview
Syllabus
Introduction
- Welcome
- Starting the day with the big picture
- Choosing the right PA for the venue
- Unloading the trucks and load-in
- Audio rigging: Points
- Audio rigging: Motors and cables
- Audio rigging: Trusses
- Amplifier racks
- The best combination of analog and digital signal paths
- Audio rigging: Feeder and power
- Flying the PA speaker arrays
- Discussing the advantages of subwoofers and front-fill speakers
- Where's the best place to sit at the venue?
- Monitor world: Setting up at the monitor engineer's position
- Preparing the wireless in-ear monitors for the band
- Scanning frequencies and configuring the RF antenna for wireless in-ear monitors
- Real-world example: Getting a basic monitor mix for different band members
- Line check overview: Making sure every line sounds as expected
- Sound check from the monitor position
- Monitor mix snapshots for the live performance
- Communicating with Geddy, Alex, and Neil during the show
- Guitar world: Getting the Alex Lifeson guitar sound
- Guitar world: Alex Lifeson's guitars
- Triggering offstage samples with MIDI pedals
- Alex Lifeson's stage position
- Placing microphones on Neil Peart's drums and the rotating riser
- Geddy Lee's stage position: Vocals, bass, and keyboards
- Bass world: Getting Geddy Lee's bass sound
- Using audience microphones to connect the band to their fans
- Getting a great isolated sound from the string section
- Turning on the PA for the first time
- Mixing live sound for front of house
- Achieving even sound coverage in a large arena and adjusting for pockets of frequency buildup
- Sound pressure level (SPL), loudness, and ear fatigue
- What does the monitor engineer do during the show?
- Loading out of the venue
- Conclusion
Taught by
Brent Carpenter
