We had two of these consoles that were cascaded (joining two consoles or linking two consoles digitally) and that sufficed the need for the required channel inputs. The mixing console's main outs are then processed into a KME processor which is packed with dynamic features to control the left & right signals and also a crossover to send the various bands to the speakers in the setup. The FOH rack normally placed beside the FOH desk consists of gear that is used to process the main stereo outs and also auxiliary outputs. In the case of ICOM Events, the FOH rack consists of:

1 Panasonic DVD player
1 Behringer ADA 8000 converter
3 Behringer DEQ 2496 Digital processor
KME DAP 26 processor

The Behringer ADA 8000 converter is used to feed the stage monitors. The auxiliary outputs of the console are assigned to the cascade master's optical out and with an optical cable (ADAT) patched into the Behringer ADA 8000. This enables eight optical signals to be split into 8 inputs that get converted from digital to analog and then 8 analog outputs are patched to the respective monitors on stage from the FOH junction box.

Front view of FOH rack

Rear view of the FOH rack

O1V96 Main stereo outs patched into FOH rack's KME DAP 26 Inputs (pic below)

The mixing board's main outputs are patched into the KME DAP 26 inputs; the DAP has two inputs and 6 outputs. The DAP controller also comes along with a software by which the main outs can be configured in different ways; two way, three way, mono or a basic stereo setup. The software also enables one to select crossover frequencies for the various speakers and also provides equalization controls.

KME DAP 26- Rear outputs

FOH junction box that connects the snake returns cable

BACKSTAGE

The gear that comprises backstage are mainly power amplifiers, snake junction boxes and power distribution boxes. This is the point from where signals that come from the FOH via the returns cable terminate and these signals are the main left & right out, auxiliary signals, etc. The speakers are patched to the power amplifiers in a parallel mode which is a powerful way to share the power over multiple speakers.

Front view of amp racks

To describe it in simple, parallel mode utilizes one input of a power amplifier and sends the output across both the channel outputs. There are 4 Yamaha P7000S & P3500S amplifiers that are used to power the 4 subs and 4tops in the rig. The amplifiers in the case of the concluded Gegar-U event were driven at 80% of their output with around 3 to 5 dB of headroom on the master faders. This gives the engineer a feel-good-factor kick, so if the crowd gets bigger and the venue is filled and since human beings act as high-frequency absorbers, the faders can be pushed up and give a louder feel.

Rear view of the amp racks

If you take a look at the picture below, it shows the patching of the power amplifiers to the speakers. Take a look at the left side of the picture, it shows 4 XLR cables patched in row A and 8 Neutrik Speakon cables patched in rows A and B.

Amp rack rear patching

This means that the power is sent out from both the channels of the amplifier. Therefore in the case of the Gegar-U event, we were using 2 subs and 2 tops per side, which gives us 4 subs and 4 tops altogether. We have the 4 Yamaha P7000s power amplifiers in the rack numbered as A1, A2, A3 & A4. If you were to take a closer look at the picture above, you will notice a A1 and B1, this tells us that an amplifier is normally stereo, meaning a left and a right channel. In the parallel mode, only one input is utilized and the output is shared amongst both the outputs.

Let me take for example the input A1, an XLR cable is patched and two speakon connectors are patched into its A1 & B1 outputs, we now have the power from amplifer A1 being sent to two subs simultaneously. This is an example of a parallel mode connection.

DETOUR

Therefore, this is what setup consists of in sound reinforcement; travelling, loading and unloading equipment, setting up, a lot of cabling, a lot of waiting, line checking, the soundcheck and then being present for the main event itself. As I said earlier, each role is a responsible one, if one is slack in doing their work, the setup time increases which affects the smooth flow of production.

I hope this article has helped readers and anyone interested in being part of live sound reinforcement. We are constantly conducting events at ICOM and if you are seriously interested in getting involved, please email me at vinay@icom.edu.my