Live Sound Gear List

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malcolm123

malcolm123

New member
Hello All,
It's been a while since my last post. Anyways, my band has finally made it out of our home town to do some touring as the backup band for a major artist. I have been requested to come up with a gear list for the shows. Im thinking they need this list for the smaller venues because Im sure that the major gigs would already have the sound in place. Im asking because I dont really want to leave out anything trying to think of all the gear myself. So im referring to the HR Folks. The band it'self is a 6 piece with drummer, lead gut, rhythm gut, keys, bass, fill in gut.

We currently use a 16 channel yamaha as a console. We have been lucky because one of the members does live sound.

so Im thinking:

another 16 or 24 channel console
XLR Snake
1/4 inch snake ,,, maybe ?
3 stage floor monitors
PA cabs
Power amp
Rack on wheels
power conditioner
a couple of effects units
mic stands (we already have mics)

anything else that I may be missing, please chime in.

Thanks

Malcolm
 
my simple setup

24 channel mixer with No subs, but with 4 AUX

i run 4 active monitors onstage, they all are connected to the 4 aux,
this gives me nice controll of what can be heard through the monitors.

then i got all the inserts of my mixer connected to a patchbay,
(using several 8 channel INSERT snakes for those connections)

then i got all my FX and processors connected to my patchbay using
a bunch of 8 channel TRS snakes

in my rack you will find:

a power conditioner
a preamp with phantom power (but i just plug an sm58 to it for vocals)
a stereo (multiband) compressor
3 dual channel gates-compressors (dbx 166XL, in total thats 6 channels of compression and gates)
then i got a Quadgate, (4 gates in one unit)

all these compressors are connected to the Inserts of my mixer,
these are the compressors for drums, bass and vocals

then i got a Lexicon Alex for reverb on the vocals,
i don't have any AUX free on themixer,
so i daisy chain my VOCAL COMPRESSOR AND THIS REVERB,
and use only a tiny bit of verb

then , the stereo output of my mixer goes to a crossover,
the crossover's outputs 1 go to the TWEETERS-amp of my FOH system
and output 2 goes to the BASS-amps of my FOH.


and for the rest i got a bunch of Shure sm57's for drums, guitar and vocals,
sm58 for vocals, and i'm gonna get me a sennheiser 421 for the bassamps,
a bunch of micstands, mic cables

definately a 16 channel Multicore with 4 xlr outputs to connect the monitors

thats it :)
 
If you are opening for another band, I don't think they want PA requests, but more of outbaord, mics, amount and style of monitor mixes, and how many channels you need. The headlining band in general will supply a larger rider that specifies cabinet types and makes, channel lists, console reccomendations (for size, features and brand). The opening bands rider is really so the engineer knows how many channels, what mics, and what comps/gates/fx to porvide, how many monitor mixes are necessary, and any nonstandard setup stuff so he or she can have all the gear ready day of the show to accomodate all the bands. You should not have to bring PA equipment. If you do have a member that "does live sound" then they should know exactly what stuff needs to be advanced with venues and rental companies. If he/she does not know what info to porvide, then make sure he/she stays out of the way of the other engineers (assuming they are decent at least) at your shows. As a FOH and Monitor engineer that has mixed for maybe 1500 bands, there are two things that I really hate. First, is the "bands buddy" that wants to mix, but has no REAL experience. Second is when band members standing on stage start telling me how to mix FOH. i don't mind getting an overview from them on waht they want to sound like, but if they are standing on stage behind the mains and in front of the monitors, then how can they really think they know whats "wrong" in the mix in the PA? I am not saying that your bandmate is like this, but keep an eye out. Let the engineer do his job unless he has given you some reason to believe that he can't do it properly.
 
I am guessing they are looking for a rider.

Figure out what you need, at a minimum, to play the gig. If there are optional extras, add that as optional, and don't expect to get it very often.

Are you carrying your own gear, or renting? If you are renting, you will probably need a specific keyborad if you have any custom patches you need, but don't be too particular about the amp. Tell them what the amp needs to do. If you need a tube amp, specify that. Do you only need one channel, or two? Carry your own pedals, and try to have your sound come primarily from the stuff you carry. You are not likely to get great gear every night when renting. Some rental houses are great, others suck. But it costs a lot less than carrying everything.

What needs to be miced, and what can go direct? How many monitor mixes do you need? If you have a sound guy you have worked with who has experience with touring on this scale, pay him for a half-days work to help you write a technical rider that makes sense. Talk to your tour manager and see what they have to say (hopefully they are come from a tech background, because if they don't they can be a real pain in the ass).

Don't forget to ask for lighting. It may seem like a joke, but people have shown up and found they had to play in the dark, or with the house lights up. It doesn't need to be much, just something like, "There must be front and back light for each player, with a minimum of three colors, plus one follow spot light near the ceter of the audience, or if two on the outer edges." This of course assumes you only need one spot, though if you can do without one, as an opening act, that would be wise. If you all stand pretty still, you could specify lekos as specials. As an opening act, though, you are unlikely to get everything in your rider very often. Deal with it. The easier your rider is to fulfil, the more likely you are to get it. Get your guitar sounds out of pedals, and spec a guitar amp, like a Roland JC-120 (which you will probably always be able to get). Spec a monitor mix for each person if the band is small, and if it is big share mixes sensably (two guitar players can share a mix, as can the drummer and the bass player, most of the time, etc. The singer probably needs his own mix). And don't be hurt if some nights, you only get one or two mixes.

If you are touring with a sound guy, they can handle that part of the rider, and all you need to worry about is the backline stuff (amps, drums, etc.)


Light

"Cowards can never be moral."
M.K. Gandhi
 
xstatic said:
If he/she does not know what info to porvide, then make sure he/she stays out of the way of the other engineers (assuming they are decent at least) at your shows. As a FOH and Monitor engineer that has mixed for maybe 1500 bands, there are two things that I really hate. First, is the "bands buddy" that wants to mix, but has no REAL experience. Second is when band members standing on stage start telling me how to mix FOH. i don't mind getting an overview from them on waht they want to sound like, but if they are standing on stage behind the mains and in front of the monitors, then how can they really think they know whats "wrong" in the mix in the PA? I am not saying that your bandmate is like this, but keep an eye out. Let the engineer do his job unless he has given you some reason to believe that he can't do it properly.
Click to expand...


FUCK YEAH!!!!!

Or, Amen Brother.


Light

"Cowards can never be moral."
M.K. Gandhi
 
Are you flying or driving? If you are driving then you should have all your backline. Personally, I reccomend you ask for everything you might need, instead of just the basics. This way you will actually have some shows where its all there. My guess is that you are driving whether it be van bus etc... Typically, opening bands that need backiline drive, and are not flown. Unless of course the band is already signed, with high exposure etc... If you are flying, take your own guitars, and have the drummer bring sticks, kick pedal, snare drum (unless he isn't super picky about that) and cymbals (same as snare comment). A keyboard player should do his best to get a rack mount midi box with all his/her patches on it and take it with. That way if you get a different keyboard, you can still have all the same sounds without having to spend hours programming a keyboard that is unfamiliar.

it is a good idea to pass along lighting requests. However, the headliner probably has all that stuff already forwarded and openers typically get what little is left, and uses the same stuff (usually just part of it) as the headliner. However, if you have special requests, and the venue has enough lights and a good LD, you may actually get it.

I am used to every rider always being bigger than necessary. I run a Pro Audio company, system tech, and also privately contract as FOH engineer and even Monitor engineer. I ALWAYS do my best to get every little thing I can on every rider, and if I can't, I ALWAYS contact the bands Engineer, Manager or whoever is listed to approve everything that may be different or that I can not provide. That is why I suggest sending the full onlist, and not just the basics. Sending a full list is more likely to get you a phone call from the venue or Pro Audio company. That should at least put you at ease, or at least allow you to be aware of some problems that may come up at a given show. Also, you should send a graphic diagrahm and inout list with your rider of your stage setup. On the graphic diagram, show where and how much power you need. Proper advancing is one way that shows can go smooth and actually start on time. Not to mention that the opener, if they get a sound check, usually sound checks after the headliner. If all your ducks are in a row in advance, you will have a much better chance of getting a good and speedy soundcheck, and maybe even a dinner break before the show starts.

The last thing, when you get to the venue you are playing, always introduce yourself to the staff. Be nice and make friends right away, and try to be flexible. Keeping the staff in a good mood is one sure fire way of getting better service from them. The more they like you, the more they will want to do for you. It sucks, cause it shouldn't have to be that way, but it is. I always request good equipment when I engineer for bands. I don't expect it, but I request it. If i go into a club and they have a Mackie console (which makes me very unhappy), I don't get pissy or angry. There is no point. At that time I can complain all I want, but no amount of complaing will get me a Midas from them, so why create stress for everyone? Luckily I always carry a small Midas with me. I have sold more than one Midas to Mackie owners after a show that way:D
 
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