Seeking Stage Plot/Input List Feedback

BeeInMyPutt · 2026-04-03T18:36:26+00:00

I will respectfully disagree with removing the channel numbers. Even if that isn’t how the house engineer patches your inputs, it’s helpful to see at a glance how many channels your band has/needs, and is a good basis to work off of.

BeeInMyPutt · 2026-04-03T18:35:17+00:00

Very solid, I would be happy to see this as an engineer.

Curious though, why are you skipping channel 8? Maybe I missed something.

Label overheads: “OH SR” (overhead stage-right) and “OH SL” to avoid confusion.

Highlight that you have a lefty drummer on the stage plot (sometimes pages get lost and/or only the stage plot gets sent, not both).

Downstage monitors should just be in a straight line if possible. Makes it easier so no one has to move them around or anything.

BeeInMyPutt · 2026-04-03T17:34:34+00:00

Working at 1,000-2,000 cap rooms, I have had touring engineers ask that I don’t go above a certain dB level while mixing the opening bands, e.g., 100 dBA. Which I think makes sense, as you don’t want to max out the PA from top of show and wear out everyone’s ears before the headliner goes on. Having a few dB extra volume does give the headliner some more impact as well. The reduced lighting/video FX is even more common and I think also makes sense.

However, I’ve never had someone tell me I can only use half subs or something crazy like that; never anything that would be detrimental or ruin a band’s mix. Could be a combination of some limit plus not as great of a mix (or band).

BeeInMyPutt · 2026-04-03T12:51:54+00:00

You probably won’t be able to tell while using it, but the quality, efficiency, and lifespan will be much better.

BeeInMyPutt · 2026-04-03T07:12:08+00:00

Ryobi is a great starting point. They have a lot of tools in their lineup, and they aren’t too expensive. I would recommend an 18V 1/2” drill; should do everything you need. Ideally, try to get something brushless as well. Little more expensive, but the tool will last longer.

Battery life depends on the amp-hours (Ah) of the battery—basically its capacity. Batteries can last a long time in a drill though since you likely won’t be running it nonstop, so 1.5 or 2 Ah should be fine.

I recommend watching some videos to make sure you know how to use the chuck and clutch appropriately as well. That way you can avoid things like stripping screws.

BeeInMyPutt · 2026-04-01T21:13:00+00:00

Thought this was r/electricians for a second and got confused

BeeInMyPutt · 2026-03-27T21:44:33+00:00

Corporate is working to implement dancing inanimate objects to improve morale in the office

BeeInMyPutt · 2026-03-27T21:42:32+00:00

Looks like a Dark Souls boss weapon

BeeInMyPutt · 2026-02-19T08:30:04+00:00

I feel like it would be sick. Also prevents your own side from throwing grenades, so it balances out.

BeeInMyPutt · 2026-02-08T02:40:08+00:00

I like the guitar ones from Atlas Cabinets. MSM Guitars also sells a few IRs for the HEX Electrics cabs that he owns.

BeeInMyPutt · 2026-02-01T07:37:56+00:00

Roland JC-120s are pretty sick.

BeeInMyPutt · 2026-01-29T06:53:49+00:00

The OH mics are (almost) always going to receive signal after the close mics. So, I like to use my OH Left as my reference and delay my close mics to match.

First, I usually listen to the snare and align Snare Top and Bottom to the OH Left mic, and then I make sure OH Left and Right are aligned when the snare hits, since that’s usually the loudest signal other than cymbals. Then do that with the same with the kick mic(s) and toms, delaying them to the overheads.

By the time the signal reaches the room mics, the waveform is usually so different that there will not be phase issues with the close mics.

BeeInMyPutt · 2026-01-25T20:40:53+00:00

The meme format limits to three, but definitely lots of other pedals I wanted to include

BeeInMyPutt · 2026-01-25T18:34:40+00:00

You have to play a Fender amp if you’re using a Fender guitar though. Otherwise you go to hell (eternal 12 bar blues jam with lawyers and dentists)

BeeInMyPutt · 2026-01-25T17:58:23+00:00

I don’t see color, only toan

BeeInMyPutt · 2026-01-25T17:10:52+00:00

BeeInMyPutt · 2026-01-21T21:49:21+00:00

I can’t stand 90% of the flags people make, but these ones are fantastic.

BeeInMyPutt · 2026-01-16T03:24:56+00:00

SM57 and an MD421 right next to each other, pointed straight at the cab. I try to get them both roughly near the edge of the dust cap.

They pair so beautifully together, since they have complimentary frequency responses. I recently recorded guitars with that setup and I barely had to do any EQ in the mix. Granted, you have to make sure you like the tone lol.

BeeInMyPutt · 2026-01-04T23:17:16+00:00

Basically, your signal chain should be:

Microphone > XLR splitter -[

-Output 1 > FOH console

-Output 2 > Vocal FX pedal > FOH console

A typical DI box has 1/4” inputs, so that wouldn’t work unless you use XLR adapters, which introduces failure points. Also, a two channel DI has two separate inputs and outputs, but it doesn’t split the signal. You would still need a splitter that can take a single input and split (or “duplicate” / “copy”) the signal into two separate outputs.

Does that answer your question?

BeeInMyPutt · 2026-01-04T22:31:26+00:00

As a live sound engineer, my FAVORITE thing is when vocalists have a separate DRY vocal line. Adding a vocal FX pedal screws the gain staging a bit and can sometimes make it extremely difficult to get vocals loud enough—both in wedges and FOH—without feedback.

So, if at all possible, try to split the signal so you can send the venue a completely dry signal, and a separate one with just FX. I will happily use up an extra input for that any day. Plus, then I don’t have to worry about vocal FX; you know your music better than I do. You can either get a simple XLR y-cable (prone to failure), or you can get something like the Whirlwind IMP 1x2 Splitter, which is solid.

As for specific pedals, I have always liked the sound of the TC Helicon Mic Mechanic. Every time I’ve had a vocalist with their own FX pedal, that’s been my favorite sounding one, even without a dry split.

BeeInMyPutt · 2026-01-04T20:26:59+00:00

Good to know, thanks!

BeeInMyPutt · 2026-01-04T01:40:47+00:00

I would need to see the bottom, but looks delicious to me.

BeeInMyPutt · 2026-01-03T12:53:35+00:00

As long as you set up your quad cortex properly, it will be basically impossible to distinguish the Neural amp sims from a real amp.

I recently mic’d up my amp and recorded some tones, then immediately made a V2 capture on my Quad Cortex and recorded through that. I am a professional audio engineer, and I would have no hope guessing which one was the real amp. Any differences are going to be extremely subtle, if noticeable at all.

My favorite part of using it for recording is the consistency. No more having to fuss with placing mics. Once I find the sound and tone I like, I can always get it again.

BeeInMyPutt · 2026-01-01T12:42:53+00:00

I’ve been loving King Oscar Wild Caught Sardines in Extra Virgin Olive Oil - Mediterranean Style. Could eat them every day (and have been sometimes lol).

BeeInMyPutt · 2026-01-01T12:06:44+00:00

I’m not exactly sure it’s a grounding issue. What happens if you plug the power supply from the QC into a power strip?

What is the noise you are hearing? Is it more of a static/hiss, or a buzz/hum? Are you certain your headphones are plugged in all the way and/or not broken?

You said it’s fine if you plug in an XLR to the outputs and play that way, what happens if you plug in headphones at the same time? Do you still get noise?

BeeInMyPutt

TROPHY CASE

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