David Glass Sound Services 2012

[glass50]

Richard offered me advice on the Mackie Digital mixer based on limited knowledge of what I do. Bob is looking for ways to demonstrate the viablity of SAC. 2013 is one day away. So I thought this summary of our 2012 work might be helpful.

Took in $28,517.06. Paid $5507.79 as labor ($20/h) to my other sound guys. Did 57 jobs with analog systems (30 of these at White Elephant Saloon with system I installed). Did 21 jobs with SAC. Six of these tied into facility main amps and speakers. Had one show where facility crew gave me a 6 xlr stage box for R&H LR line array, R&H LR subs and R&H LR front fills. SAC handled the task perfectly and we did not have to cart mains. Did use my 10 wedges across 8 powered monitor mixes. Did several installs and several repair jobs.

My gear is: 2 24ch SAC systems, 3 16ch Mackie 1604vlz systems, 1 12ch 4amp Carvin. 14 Shure wireless that can be either handheld or Countryman style over ear. All loaded in small ex Penske box truck and e250 cargo van.

SAC shows are mostly party bands, some touring acts, and multistage festivals. 2nd SAC system is mostly backup when traveling. Have had three sound guys with bands at remote FOH learn the ropes quickly (I did the setup), then really praise SAC for ease of use and flexibility. Have done 4 stage plays with 14 wireless on actor/singers and band in the wings. (yes, Richard that is a different animal but lots of fun)

Seven ADA8000 work well for me (3 per system plus one spare). They are always at stage side with monitor world. Don't need remoteable preamps. Don't need plugs other than Bob's. Run FOH both wireless and ethernet, with lenovo notebook, 2nd USB display for wide view and txt msg utility, and BCF2000 fader pack. Have a crew of four, Ted Hamilton, Andre Yaneillo, David Shaw, and Jason Lomax all able to setup and operate SAC systems.

IMHO there are two types of sound guys out there. Those that want to be part of the show with 10 fingers on 10 faders looking as busy as they can be. These guys have a place if they are permently with a band knowing their every move. The other type, which is us, takes each new band best we can, sets most agreeable mix, EQ, and effects. Leaving the show to boosting lead vocal or lead guitar as needed. We mostly leave dynamics to the band assuming they know best.

Happy New Year all and GO SAC

[Donnie Frank]

Nice post. I always look forward to reading your posts. I started my sound company on the 1604 VLZ Pro, which I eventually replaced with the 1640 Onyx, which I *really* love. The Firewire digital recording option was really something pre-SAC. I now tote it around as my backup console. I also have a MixWizard in a rack with 4 bands of 1/3 octave E.Q.'s. Unlike you, I've only done bands; albeit, bands of many different sizes and flavors. Like you, I try to make customer satisfaction my top priority.

[RandyHyde]

Richard offered me advice on the Mackie Digital mixer based on limited knowledge of what I do. Bob is looking for ways to demonstrate the viablity of SAC. 2013 is one day away. So I thought this summary of our 2012 work might be helpful.

I'll inject my meager input as well.

Took in $28,517.06. Paid $5507.79 as labor ($20/h) to my other sound guys.

I've been stuck at about $75,000 for the past couple of years. Probably 1/2 of that goes to labor ($12.50 - $15.00/hr plus overtime and Obama's/Brown's cut for road and sound crew, approx $25,000 for part-time sales manager/road crew manager/etc). The bad news is that I typically sink $40,000-$50,000/year into new equipment building up the business so cash flow has always been negative. On the plus side, 2013 will probably be the last year that I put my own money into the business -- I've finally gotten to the point that I have a decent A rig, soon I'll have a renovated B rig, and my lighting rig will be in good shape by this summer. After that, the business can start paying for all the equipment itself.

Insurance is around $5,000+/year these days (liability plus vehicle). Fuel costs (generator+vehicles) is probably around $2,000-$2,500/year (right now it costs about $750-$1,000 to fill up the generator, though the 150 or so gallons in a full tank will last most of the year for the gigs where I use the generator). My box truck gets 5 mpg; my F-350 gets 8 mpg pulling the generator. On larger gigs we usually take a third pickup (Tacoma) that gets around 10 mpg towing a trailer; will probably replace that with a step van this year.

Vehicle maintenance is probably around $1,000-$2,000/year. Registration and the like is currently around $1,000/year.

Did 57 jobs with analog systems (30 of these at White Elephant Saloon with system I installed). Did 21 jobs with SAC. Six of these tied into facility main amps and speakers. Had one show where facility crew gave me a 6 xlr stage box for R&H LR line array, R&H LR subs and R&H LR front fills. SAC handled the task perfectly and we did not have to cart mains. Did use my 10 wedges across 8 powered monitor mixes. Did several installs and several repair jobs.

The Festival of Lights show (Nov 30-Jan 5) was 37 nights; don't know whether to count that as 1 gig or 37. Probably had another 20-25 shows this year ranging from SoS jobs up to one show with 10,000 people (July 4th). Lowest priced gig was $450 (SoS), highest priced gig was $4,500. Most importantly, my average price/gig went way up this year (still under $1,000/gig because the FoL show, at 37 nights, drags the average price way down); without the FoL dragging things down, I'm probably somewhere between $1,000-$2,000/gig (call it $1,500). Note, however, that most of the higher-priced shows are full productions (sound, lights, and stage), not just sound. Most of my A-rig jobs (sound, stage, lights) exceed $2,000 these days, that should be absolute by next year.

My gear is: 2 24ch SAC systems, 3 16ch Mackie 1604vlz systems, 1 12ch 4amp Carvin. 14 Shure wireless that can be either handheld or Countryman style over ear. All loaded in small ex Penske box truck and e250 cargo van.

My boards are two SAC systems (24 channel B rig, 32 channel A rig), GL2200/24+MonWiz analog, and a couple Behringer mixers/powered mixers that I use on SoS jobs. Seven wireless (Shure SLX + ULX) with Beta 58, SM 58, Beta 87, Shure Lav and headset, and Countryman headsets. Usual assortment of Shure SM 58, Beta 58, SM 57, Beta 58, SM 98, 202b, Audix and AKG drum mics, and other assorted goodies (e.g., a Yamaha Subkick). The mic complement is one of the first things the company is going to improve on this year (using profits rather than my money).

My current A rig consists of four SRX 725 columns, four SRX 728s subs, and six SRX 712m wedges. The 725 and 712 speakers are bi-amped. I use Crown ITech for the subs and LF sections; I use Crown XTi 2000 (overkill) and XLS 602 amps for the HF sections. I use a DBX DriveRack 4800 for the FOH cabinets; I use three DBX DriveRack 260 modules for the monitor wedges.
I have an "A+" configuration that adds two additional 728s subs and two additional 725 columns (the 725 cabs are used as delay stacks). In the A+ configuration, I run a cardiod subwoofer array.

In the past, my B rig has consisted of a pair of Mpro 225 columns, four Mpro 415 wedges, and two Mpro 418s subs, all powered by Crown XTi 4000 amps. I am in the process of replacing all this equipment. Thus far, I've replace the Mpro 225 columns with four JBL PRX 625 columns. Later this year, I'll replace the wedges with four PRX 615 and the subs with four JBL PRX 618s XLF cabinets. (Anybody want to buy a heavily-used B rig? ).

SAC shows are mostly party bands, some touring acts, and multistage festivals. 2nd SAC system is mostly backup when traveling. Have had three sound guys with bands at remote FOH learn the ropes quickly (I did the setup), then really praise SAC for ease of use and flexibility. Have done 4 stage plays with 14 wireless on actor/singers and band in the wings. (yes, Richard that is a different animal but lots of fun)

Most of my shows are summer concert series and festival jobs. FoL runs the full range: professional touring acts (e.g., Alex Drisos of the Dave Mason band), local cover bands, theatric productions (e.g., Cal Baptist University's theater department did "Forever Plaid" on the FoL stage this year), elementary school choirs (always the biggest crowds), solo artists, dance groups, cheer leaders, Church choirs, "pay to play" studios, karaoke, hip-hop, and just about anything else you can imagine. Needless to say, my sound guys get *lots* of different experiences on the FoL stage each year.

In addition to the bigger shows, I do various Christmas Tree Lighting ceremonies, grand openings (SoS jobs), public address jobs, and the like. I also rent out stages (no sound or lights) and I typically get a half dozen or so lighting-only gigs per year.

Seven ADA8000 work well for me (3 per system plus one spare). They are always at stage side with monitor world. Don't need remoteable preamps.

I have been exceptionally happy with the four Octopre Mk II Dynamics in my A rig and the two Octopre Mk II Dynamics plus one Octopre Mk II (not dynamic) in my B rig. At some point, I'd like to expand the channel count in my A rig to 48 or 56 channels by adding a couple more OM2D and maybe a single OM2 to the A rig. The B rig will stay at 24 channels (18 available on the stage); if they need more then they need the A rig.

Not at all interested in remoteable preamps anymore. I'd rather have more channels and spread multiple acts across different preamps. Perhaps not as flexible as remoteable preamps, but having more preamps lets me handle bigger shows so I'd rather go that route.

Don't need plugs other than Bob's.

I use all of Bob's (would love a remoteable reverb, though).
On my A rig I've got the Spazio reverb module (nice sounding reverb) and the corresponding modulator package (amazing phase shifter plug in). I also have the Transient Monster plug-in; couldn't live with it.

On the B rig, I've got Bob's plug-ins plus a bunch of the reaper plugins; use the multiband compressor all the time.

Run FOH both wireless and ethernet, with lenovo notebook, 2nd USB display for wide view and txt msg utility, and BCF2000 fader pack.

On the A rig, I run FOH via ethernet and use my HP Touchsmart to wirelessly set up monitors during sound check. During the show, we use the HP to check levels throughout the venue.

I will typically pull out the Mackie MCU for A-rig jobs. Most B rig jobs are mixed virtually. I can't write a long post like this one without the obligatory "SAC really needs better hardware control surface support."

Here's hoping that 2013 will see the release of the SACRemote API or some other scheme that will allow SAC users to hook up arbitrary (and any number of) control surfaces; even if such support is provided by a 3rd part. Should that happen, I will once again become a card-carrying, kool-aid drinking, radical SAC supporter. Until that day comes, SAC gets the job done; switching to something else could solve the control surface problem but there would be, undoubtedly, some things I'd be missing from SAC. Would love to see SAC address some of the outstanding issues so there would be no desire or need to switch to something else for higher-end shows (particularly, those involving BE/GEs).

Have a crew of four, Ted Hamilton, Andre Yaneillo, David Shaw, and Jason Lomax all able to setup and operate SAC systems.

I have a crew of four sound engineers, a sales person (and generic helper at shows), a lighting designer/operator, and 4-6 road crew members (depending on whether you count family). The sound engineers are capable of setting up my SAC systems (which have turnkey setups at this point); a couple of them are capable of handling routing issues relatively well; the other two can handle normal mixing chores but haven't drilled down that much into the software. It is still the case that I get called if there is a problem that involves computer setup or networking.

IMHO there are two types of sound guys out there. Those that want to be part of the show with 10 fingers on 10 faders looking as busy as they can be. These guys have a place if they are permently with a band knowing their every move. The other type, which is us, takes each new band best we can, sets most agreeable mix, EQ, and effects. Leaving the show to boosting lead vocal or lead guitar as needed. We mostly leave dynamics to the band assuming they know best.

I generally let my sound guys work in whatever way they are comfortable with. The vast majority of acts we do are one-offs with an ad-hoc mixing session (that is, we have no way of anticipating how the sound ought to be mixed until it's happening to us). I can categorically state that most of the acts *don't* know best when it comes to dynamics; what the performers hear on the stage is completely different from what we're producing in FOH. Personally, I like to boost any performer that's doing a solo; they may sound loud in their monitors because they've got the "more of me" mix happening, but in FOH they're barely audible (even if they stomp on a volume pedal during a solo).
One of my sound guys will spend the whole show tweaking compressors (especially multi-band). I'd call him an idiot, but he consistently produces the best sound for rock shows so I sit back and let him do his thing. I've got others who take a "set it and forget it attitude."
Ultimately, the only "absolutely do this" requirement I put on my guys is that they have to turn off the reverb on the vocals between songs; to me, it's a complete sign of an amateur to have performers talking between songs and sounding like they are in a cave.

Happy New Year all and GO SAC

Happy New Year all and hopefully SAC continues to push the envelope and fill in the few gaps it has in usability.

SAC doesn't do everything I want, not by any stretch of the imagination; but it's probably better than anything else I can currently afford (e.g, A&H GLD or Midas Pro2). Fortunately, most riders I encounter say things like "no Mackie or Behringer" rather than requesting specific boards, so SAC works in my environment. I'm sure that if I were to expand my business to the next level I couldn't get away with using SAC (at least on an A rig), but it works fine at my current level (and I figure it will cost me at least $250,000 to move up to the next level, so that's not happening anytime soon).

If I had it all to do over again knowing what I know now, it would be a hard call to decide to go with SAC. Training costs eat me alive with SAC. Using something like an A&H GLD or iLive or Midas ProX board would open up the possibility of pre-trained sound engineers, reduced training costs when I have to train them, plus the incentive for people to learn the boards on their own (as they could use those skills when they leave Plantation Productions, an incentive that doesn't really exist with SAC). As I've said many times in the past, SAC is perfect for the owner/operator sound company where only one person (the owner) has to learn SAC and s/he is motivated to do so (by bang-for-buck, with the buck coming out of their own pocket).

SAC's bang-for-the buck, modularity/expandability, flexibility, and sound (with decent preamps) are amazing. Thus far, the positives outweigh the negatives so I'll continue to use SAC until something better comes along. However, the market for low-cost digital boards (e.g., GLD, Pro2) is expanding rapidly and I expect to see some world-class boards in the $5,000 range within a couple of years. There are many things I like about SAC; I'm hoping that many of the things I don't like will be fixed by the time serious competition for SAC starts coming from the higher-end manufacturers. Already the X32 is providing *huge* competition for SAC, as the X32 is at the same price-point as a low-cost SAC system. If those boards prove to be reliable, SAC will have some very serious competition from Behringer.

cheers,
Randy Hyde