What's your dream FOH

Since we're apparently resurrecting a 2-1/2 year old thread, my dream FOH would be defined by it fitting the application and users perfectly, the brand or model numbers involved don't matter as long as it is the right solution and that will vary for every application. Oh, and since it is a dream FOH, it would be someone like Dave Rat mixing, the most crucial piece in any system.

I am sort of dismayed by the almost unanimous preference towards line arrays when they really are a poor choice for many venues. Guess the dream FOH would include designing the venue around the audio system rather than the other way around has to happen in the real world!
 
museav said:
I am sort of dismayed by the almost unanimous preference towards line arrays when they really are a poor choice for many venues.
Click to expand...


There was no indication of venue in the OP. It is completely imaginary, or idealistic. You can look at it as people are just looking to play around with line arrays, something a lot of theatre people are not able to do.

~Dave
 
Oohh fun time again.

Console: can't possibly choose one
Analog- APB Dynasonics Spectra Ti 56 channel
Digital- Allen & Heath iLive (full system including the iLive 176 control surface)

Processing: Dolby Lake(for now anyway)

Speakers: if you don't know, you haven't been paying attention.

Mics: Shure UHF-R assortment (lav and handheld)
Wired mics would be a mix of Heil and Sennheiser


Playback:
(2)Mac Pro with 4TB HD, 32 GB DIMM Memory
(always need a backup:))
 
museav said:
Oh, and since it is a dream FOH, it would be someone like Dave Rat mixing, the most crucial piece in any system.
Click to expand...

Absolutely.

The PA can be pretty, the console can be pretty, but if the knobs are not in the right places, it can still suck.

For me, I'm an analog guy. I like mixing on A&H GL or ML series, and line arrays are neat but overrated, so I'll go with something like 650s or anything Renkus over MTL1Xs. Power, give me Macros or Micros. Graph, DN360; comps, 166A and ACP88; alignment delay, Rane AD22D. Wireless, Sennheiser transmitters with Mke2s (most importantly, on non-interfering frequencies).
 
avkid said:
Playback:
(2)Mac Pro with 4TB HD, 32 GB DIMM Memory
(always need a backup:))
Click to expand...

how about 2 xserves?

then it will all fit into your rack nicely and the xserves put on a nice light show also:mrgreen:

proxy.php
 
Hughesie89 said:
Mixer:
Allen & Heath iLive (

FOH rack:
BSS Soundweb London
Rane 3 way stereo/5 way mono crossover
Dell Poweredge Rack Server
Apple Xserve
Yamaha SPX 90
Roland SDE 1000 Delay
Alesis Quadraverb 2
DBX 4 channel gate
DBX 266XL 2 channel gate/comp.
DBX 166XL Stereo Gate/Comp/Lim
DBX 2231, 2 channel 31 Band EQ

Speakers:
Clair Bros. Audio
i-4B Speaker System

Amps:
Lab.gruppen LA48
Click to expand...

Does the iLive not have dynamics processing onboard? Also, why mix the DBX XL gear with an iLive? Come on, at least 1046s and 1066s if you're going analog with dynamics processing!
----------------------------------------------------------------------
OK, I'll play. I refuse to list anything that I wouldn't be able to walk up and already use or learn in a very short amount of time on this list:

M7CL-48 for FOH. Linked to an LS9-16 that remotes in for handling the effects returns (so I can have independent faders for that) as well as a recording mix. Playback/record rack would have a CD01U Pro, a Marantz PMD570, an AudioFire 12, and a Yamaha DME 4ioC and 8oC. Effects rack would have a Yamaha SPX 2000 and a Lexicon PCM 91, and another DME 4ioC. The snake would be a digital snake, most likely Cobranet based, but I couldn't give you a model because I haven't had enough experience with any of them to decide. Considering it's an M7, the venue can't be that big (no one ever said your dream FOH had to fill a stadium!), so QSC Wideline-10 arrays for speakers, with EV QRx 218s subs. Amps would be QSC Powerlight 3. Mics would be a mix of Shure, Sennheiser, and Audix, with Sennheiser wireless systems. Processing would be via the now-discontinued DBX Driverack 480 with a 480R for remoting the graphic EQs. Computer would be a rackmount Dell R5400 with software for linking to the consoles, the Audiofire, the wireless, and the Cobranet snake. Switching for Cobranet and control networks via good ol' Linksys business-grade stuff.
 
Last edited:
soundlight said:
Does the iLive not have dynamics processing onboard? Also, why mix the DBX XL gear with an iLive? Come on, at least 1046s and 1066s if you're going analog with dynamics processing!
Click to expand...

i prefer outboard processing the good ol' way:rolleyes:
 
Alex, why the CBA?

L'Acoustics amps are rebadged lab gruppen in case you were not aware...

If we're going digital snakes, I'll take Optocore please, with the expanded beam connectors.
 
Hughesie89 said:
Well this is a dream foh, and no one specified what kind of event its for so i thought i would go for something that is well proven in touring circuits :mrgreen:
Click to expand...

No comment your honour...

I tend to think that the CBA i4 filled a purpose when they created it what 20, 30 years ago?
 
alright fine, i give up

Adamson Y18's

HAPPY

may i just say if it tant' broke don't fix it, if it worked 30 years ago and still works today why change it.
 
Um in the case of CBA, fix it because other things sound quite a bit better...

Now sure Adamson is great, but Y18s overpower many a small room. I have to default to Brad's position of whatever works best for the space, client and operators - no point having DLPs for a basic church setup run by mostly unskilled volunteers...
 
Hughesie, you beat me to it. Why is no one looking at Meyer sound? Meyer has established itself as a go-to brand for a large number of touring Broadway shows. You can piece together an entire Meyer system from a Cue Console running LCS (look it up) through their self-powered (or externally amped, if you prefer) speakers of any shape and size. The reality is that Meyer is a brand that the big shows use -- it's quickly taking a big chuck of Cadac's market share. The old J-type is essentially like your parents' old '386 running DOS... Meyer's contributions to the theatrical audio (and in some cases, rock 'n roll) world have been astronomical -- check them out.

There's also been some chat in this thread regarding digital vs. analog. As an industry professional, I couldn't give any better advice to a young audio engineer than this: learn your basics on an analog (routing, eq, gain structure, mixing technique, etc.) then make the switch to digital as soon as possible. Get your hands on as many different digital boards as you can. Digital consoles give producers more bang for their buck -- less outboard equipment (onboard processing is a wonderful thing), smaller space requirements (both FOH and in truck packs), more reliable recalls of shows (due to automation and the ability to integrate with other equipment through MIDI, optical interfaces, etc.), and the recording interfaces offer unrivaled benefits to the old way of doing things. The touring world is very quickly becoming almost entirely digital and if you don't "feel comfortable" behind these desks, you will be left behind.
 
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