Pro Sound Web: One of the difficulties we regularly face as live audio practitioners is working with a variety of parties in determining what’s best for a gig in terms of system size, scale, and complexity.
My approach is to first make there’s a solid foundation—basics such as enough console channels and processing, suitable loudspeaker size and quantity, appropriate stage monitoring, and so on.
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It's interesting that this article be put on this page because one of the engineers that I worked with this summer kept this exact cartoon on his desk in our shop. While yes the cartoon is funny, it and the article that it is paired with raise a very good point. There is not a one size fits all solution for every gig and it is important to know that. This summer the company I worked for did a variety of corporate gigs that ranged from large to small and required a variety of gear. One gig I remember vividly was a Samsung promotional gig in a film studio in Brooklyn. I remember this gig specifically because it is one that I was a part of from packing it in the shop, to loading it in, to running the gig, then tearing it down, and finally restocking it in the shop. Anyway, for this particular gig the headliner was Passion Pit and they provided us with a tech rider outlining the system that they preferred. Reading the rider there is very specific instruction on what console and programming they want, and what kind of mics and in-ears they perfer but once you get to the actual PA they didn't specify specifically what they wanted. It merely said a system that can deliver a 110dB show continuously. This is most likely because they knew that we would go in and provide a system that would do what they needed it to do in the space that we have taken the time to look at.
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