What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

(1) a 10 foot 8-pair drum snake (mic names labelled at both ends) that
plugs into my backline stage box

(2) all other XLR cables spool onto plastic cable reels ($12 at the
hardware store)--there's one for short, and one for long cables

Carey Carlan wrote:
What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

(1) a 10 foot 8-pair drum snake (mic names labelled at both ends) that
plugs into my backline stage box

(2) all other XLR cables spool onto plastic cable reels ($12 at the
hardware store)--there's one for short, and one for long cables

Carey Carlan wrote:
What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?


1. Take all you need, but no more than you need.

2. Modularize your stuff, and have it pre-wired before you
leave your place.

3. "A place for every thing, and everything in its place."

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

5. If you set up back stage, get as close to the stage exit
as you can considering where you have to run power and
signal wires. And of course, you parked as close to that
door as possible, right?

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

7. When situations permit, make up and use snakes and
"StarQuad" stereo pairs. Make cable adapters or adapter
boxes for each end with D5F/M and D3F/M. It's amazing how
much time and grief is saved by just using efficient
cabling.

8. Get to the location early enough to set your stuff up,
run your cabling in the most efficient way with strike in
mind, and certainly out of the way of both the performing
group and any stage crew that has no interest in how
difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

9. Use only enough gaffer tape (never duct tape) to do the
job. No more, no less. Unless house rules require you to
tape every inch of your cabling, don't. Just tape the areas
of obvious traffic safety.

10. You already know the proper way to remove your gaffer
tape from your cabling on the floor. Never, NEVER, _NEVER_
allow a stranger (including stage crew), friend, or family
member - no matter how good-hearted - to touch your
taped-down cabling. And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid), never,
NEVER, _NEVER_ allow the above listed to touch your cabling.
NEVER.

There's ten. Good start on an article for somebody.

I did a location last night and was on the highway to home
before the audience had cleared the house.



TM

Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?


1. Take all you need, but no more than you need.

2. Modularize your stuff, and have it pre-wired before you
leave your place.

3. "A place for every thing, and everything in its place."

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

5. If you set up back stage, get as close to the stage exit
as you can considering where you have to run power and
signal wires. And of course, you parked as close to that
door as possible, right?

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

7. When situations permit, make up and use snakes and
"StarQuad" stereo pairs. Make cable adapters or adapter
boxes for each end with D5F/M and D3F/M. It's amazing how
much time and grief is saved by just using efficient
cabling.

8. Get to the location early enough to set your stuff up,
run your cabling in the most efficient way with strike in
mind, and certainly out of the way of both the performing
group and any stage crew that has no interest in how
difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

9. Use only enough gaffer tape (never duct tape) to do the
job. No more, no less. Unless house rules require you to
tape every inch of your cabling, don't. Just tape the areas
of obvious traffic safety.

10. You already know the proper way to remove your gaffer
tape from your cabling on the floor. Never, NEVER, _NEVER_
allow a stranger (including stage crew), friend, or family
member - no matter how good-hearted - to touch your
taped-down cabling. And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid), never,
NEVER, _NEVER_ allow the above listed to touch your cabling.
NEVER.

There's ten. Good start on an article for somebody.

I did a location last night and was on the highway to home
before the audience had cleared the house.



TM

Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?



11. Establish and maintain a cabling/plugging schema. Years
ago I memorized the Belden multi-pair color code, and still
use it today (although they changed it). Whatever works for
you, just use something. It's easier to recall colors than
to try to read numbers on cable labels in a dark, back-stage
corner.

12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth. I've
used a DuraCell DuraBeam for 20 years or more and it's
perfect for my needs. I don't think they make it anymore,
but I'm sure there are nice little LED flashlights that will
do the job.

13.If you're using a mixing console, always plug as
consistently as possible. For example, I always plug my main
stereo pair into channels 1 & 2. Everything else follows
from there. If I'm doing a symphony or other large
instrumental group, I always plug from high-register to
low-register, channels 3 to how-ever-many-it-takes. Vocal
soloists after that. My operating procedure has always been
to make sure my stereo pair is solid and accessible. If I
lose or can't set up the other stuff, at least my stereo
pair is set up first and working. And having it always on
the first two channels lets me get my hands on the faders in
a split second without having to scan the board first,
especially in a dark, back-stage corner. Besides, it nice to
be able to get your concentration back and your mind on
business when you've been making goo-goo eyes at the cute
cellist during rests :-)

There's 3 more.


TM

Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?



11. Establish and maintain a cabling/plugging schema. Years
ago I memorized the Belden multi-pair color code, and still
use it today (although they changed it). Whatever works for
you, just use something. It's easier to recall colors than
to try to read numbers on cable labels in a dark, back-stage
corner.

12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth. I've
used a DuraCell DuraBeam for 20 years or more and it's
perfect for my needs. I don't think they make it anymore,
but I'm sure there are nice little LED flashlights that will
do the job.

13.If you're using a mixing console, always plug as
consistently as possible. For example, I always plug my main
stereo pair into channels 1 & 2. Everything else follows
from there. If I'm doing a symphony or other large
instrumental group, I always plug from high-register to
low-register, channels 3 to how-ever-many-it-takes. Vocal
soloists after that. My operating procedure has always been
to make sure my stereo pair is solid and accessible. If I
lose or can't set up the other stuff, at least my stereo
pair is set up first and working. And having it always on
the first two channels lets me get my hands on the faders in
a split second without having to scan the board first,
especially in a dark, back-stage corner. Besides, it nice to
be able to get your concentration back and your mind on
business when you've been making goo-goo eyes at the cute
cellist during rests :-)

There's 3 more.


TM

Money and a well planned out system.

For instance, and I have to admit, I haven't done this because of the cost,
but I was using my Crest XR20 in a Gig Rig, but setup meant some serious
hassles on getting the cables into and out of the Crest, much less the
normal setup of snake to mic cables, etc. So I talked to Conquest and got a
price of $1900 for a 168 pin connector system that would bring most
everything out to a split, one going to a rack for compressors, etc., and
the other tying directly into a modified 16 channel snake. Once the Gig Rig
was set up as planned, it would be a simple matter to make the Gig Rig to
rack connection and the Gig Rig to snake connection. Then it's a matter of
a mic cable count on breakdown and you're basically out the door in 30
minutes.

At the previous East Coast Jazz Festivals I've had three rooms of equipment
and had been able to get breakdown time to just about 2 hours. That's three
separate full systems with recording and that's when Scott Dorsey couldn't
get back because of a blizzard to help with the breakdown, so proper
planning, inventory control and simply taking the time to get the cables
wrapped correctly will actually cut down time even though it seems like
you're wasting a lot of time wrapping cables. I've found if you don't take
the time for the cables, it will take you 4 times as long to get them set
the next time, so it's worth the extra 30 seconds per cable.

But, as far as specifics, it's pretty simple. De-cable mics, set them on
the floor, break down the stands, set them next to the mic, leave the
cables. Collect all the mics and pack them. Collect all the stands and
pack them. Roll each cable correctly, wrap it and box it. What I hate is
when someone throws lights into the equation because I don't do lights
enough to have much of a method and stupid thick electrical cables are just
a pain no matter what.

--


Roger W. Norman
SirMusic Studio

"Carey Carlan" wrote in message
. 191...
What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

Money and a well planned out system.

For instance, and I have to admit, I haven't done this because of the cost,
but I was using my Crest XR20 in a Gig Rig, but setup meant some serious
hassles on getting the cables into and out of the Crest, much less the
normal setup of snake to mic cables, etc. So I talked to Conquest and got a
price of $1900 for a 168 pin connector system that would bring most
everything out to a split, one going to a rack for compressors, etc., and
the other tying directly into a modified 16 channel snake. Once the Gig Rig
was set up as planned, it would be a simple matter to make the Gig Rig to
rack connection and the Gig Rig to snake connection. Then it's a matter of
a mic cable count on breakdown and you're basically out the door in 30
minutes.

At the previous East Coast Jazz Festivals I've had three rooms of equipment
and had been able to get breakdown time to just about 2 hours. That's three
separate full systems with recording and that's when Scott Dorsey couldn't
get back because of a blizzard to help with the breakdown, so proper
planning, inventory control and simply taking the time to get the cables
wrapped correctly will actually cut down time even though it seems like
you're wasting a lot of time wrapping cables. I've found if you don't take
the time for the cables, it will take you 4 times as long to get them set
the next time, so it's worth the extra 30 seconds per cable.

But, as far as specifics, it's pretty simple. De-cable mics, set them on
the floor, break down the stands, set them next to the mic, leave the
cables. Collect all the mics and pack them. Collect all the stands and
pack them. Roll each cable correctly, wrap it and box it. What I hate is
when someone throws lights into the equation because I don't do lights
enough to have much of a method and stupid thick electrical cables are just
a pain no matter what.

--


Roger W. Norman
SirMusic Studio

"Carey Carlan" wrote in message
. 191...
What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

I have a notebook that has my particular color scheme notated so that
seconds can help, plus I always TRY to have a stage diagram so once the
snake is set, it's never a matter of having to take my mind off of doing the
console setup while my second is on the stage hanging the right mics on the
right stands in the right stage position. If it's just me, then there's not
even a second thought. Get console going, hook up mics. On teardown and
loadout, do the opposite. Mics can easily be walked off with, so they
become first priority at the end of the night.

--


Roger W. Norman
SirMusic Studio

"T Maki" wrote in message ...
Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?



11. Establish and maintain a cabling/plugging schema. Years
ago I memorized the Belden multi-pair color code, and still
use it today (although they changed it). Whatever works for
you, just use something. It's easier to recall colors than
to try to read numbers on cable labels in a dark, back-stage
corner.

12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth. I've
used a DuraCell DuraBeam for 20 years or more and it's
perfect for my needs. I don't think they make it anymore,
but I'm sure there are nice little LED flashlights that will
do the job.

13.If you're using a mixing console, always plug as
consistently as possible. For example, I always plug my main
stereo pair into channels 1 & 2. Everything else follows
from there. If I'm doing a symphony or other large
instrumental group, I always plug from high-register to
low-register, channels 3 to how-ever-many-it-takes. Vocal
soloists after that. My operating procedure has always been
to make sure my stereo pair is solid and accessible. If I
lose or can't set up the other stuff, at least my stereo
pair is set up first and working. And having it always on
the first two channels lets me get my hands on the faders in
a split second without having to scan the board first,
especially in a dark, back-stage corner. Besides, it nice to
be able to get your concentration back and your mind on
business when you've been making goo-goo eyes at the cute
cellist during rests :-)

There's 3 more.


TM

I have a notebook that has my particular color scheme notated so that
seconds can help, plus I always TRY to have a stage diagram so once the
snake is set, it's never a matter of having to take my mind off of doing the
console setup while my second is on the stage hanging the right mics on the
right stands in the right stage position. If it's just me, then there's not
even a second thought. Get console going, hook up mics. On teardown and
loadout, do the opposite. Mics can easily be walked off with, so they
become first priority at the end of the night.

--


Roger W. Norman
SirMusic Studio

"T Maki" wrote in message ...
Carey Carlan wrote:

What are your tricks for fast breakdown after a location gig?



11. Establish and maintain a cabling/plugging schema. Years
ago I memorized the Belden multi-pair color code, and still
use it today (although they changed it). Whatever works for
you, just use something. It's easier to recall colors than
to try to read numbers on cable labels in a dark, back-stage
corner.

12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth. I've
used a DuraCell DuraBeam for 20 years or more and it's
perfect for my needs. I don't think they make it anymore,
but I'm sure there are nice little LED flashlights that will
do the job.

13.If you're using a mixing console, always plug as
consistently as possible. For example, I always plug my main
stereo pair into channels 1 & 2. Everything else follows
from there. If I'm doing a symphony or other large
instrumental group, I always plug from high-register to
low-register, channels 3 to how-ever-many-it-takes. Vocal
soloists after that. My operating procedure has always been
to make sure my stereo pair is solid and accessible. If I
lose or can't set up the other stuff, at least my stereo
pair is set up first and working. And having it always on
the first two channels lets me get my hands on the faders in
a split second without having to scan the board first,
especially in a dark, back-stage corner. Besides, it nice to
be able to get your concentration back and your mind on
business when you've been making goo-goo eyes at the cute
cellist during rests :-)

There's 3 more.


TM

T Maki wrote:

And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]

I know the thumb-and-elbow technique, but please decribe the other.

L


--
lars farm // http://www.farm.se
lars is also a mail-account on the server farm.se

T Maki wrote:

And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]

I know the thumb-and-elbow technique, but please decribe the other.

L


--
lars farm // http://www.farm.se
lars is also a mail-account on the server farm.se

Lars Farm wrote:

T Maki wrote:


And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]


I know the thumb-and-elbow technique, but please decribe the other.

The other way is all about not twisting up the cords as you coil them up.

It's important to get some geometry first. If you have a straight
cord and you want to put a loop in it, the easiest way to do that
is to twist the cord. The loop then forms naturally. If you do
this over and over again, you get multiple loops which form a coil.
This is essentially what you're doing when you do the thumb-and-elbow
technique. But, there is a problem: if you uncoil by just pulling
at both ends of the cable, then you have twisted when you coiled it
up but not untwisted when you uncoiled. So the cable is still twisted.

There are two bad things about being still twisted. The first is
that it's bad for the cable. It puts stress on it. That can screw
up the shield. The second is that a cord which is twisted will
tend to want to form loops even after you straighten it out. That
causes the cords to get tangled, because they cannot be smoothly
pulled through things.

So, there is not really a way to coil a cord (short of putting it
on a spool and spinning the spool) without causing the cord to
twist. But there is a loophole you can exploit: you can twist
one direction for one loop and then other direction for the next
loop. This leaves you with basically no net twist, so that when
you yank both ends of the cable, the thing just uncoils naturally
with a minimum of tangling.

I think there is more than one way to accomplish this alternating
twist thing, so I'll just describe the way I do it.

1. Stick left hand out with palm up.
2. Lay cable end over hand so connector points away from my body
and hangs between thumb and pointer finger.
3. Grip cable between thumb and pointer finger.
4. With right hand, stretch cable back to my elbow, grabbing
between thumb and pointer finger.
5. With one motion, twist cable and form a loop. Twisting
is accomplished by having thumb (on top) move to the left
and fingers (below) move to the right.
6. At this point, hands are together and cable is between them;
transfer new loop from right hand to left.
7. Now form another loop, but in contrast to #5, twist the
opposite direction. Instead of twisting with just the
fingers, twist with the wrist. As my right hand moves
toward my left, my right hand is turning over so that
the palm of my hand faces upward rather than the back of
my hand. Also my right elbow moves towards the left elbow.
8. At this point, hands are together, but new loop of cable
is not between them. Instead, the loop of cable is draped
over my right hand and my right hand is between the coil
and the new loop. Transfer the loop to the left hand.
9. Now, repeat starting at step 5, so that each loop is
done the opposite way from the preceding loop.

When you are done, you should be able to take the loop of cable,
hold one end, and toss the whole thing out across the floor, and
you should have a straight cable with no loops and no tangles.

Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

- Logan

Lars Farm wrote:

T Maki wrote:


And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]


I know the thumb-and-elbow technique, but please decribe the other.

The other way is all about not twisting up the cords as you coil them up.

It's important to get some geometry first. If you have a straight
cord and you want to put a loop in it, the easiest way to do that
is to twist the cord. The loop then forms naturally. If you do
this over and over again, you get multiple loops which form a coil.
This is essentially what you're doing when you do the thumb-and-elbow
technique. But, there is a problem: if you uncoil by just pulling
at both ends of the cable, then you have twisted when you coiled it
up but not untwisted when you uncoiled. So the cable is still twisted.

There are two bad things about being still twisted. The first is
that it's bad for the cable. It puts stress on it. That can screw
up the shield. The second is that a cord which is twisted will
tend to want to form loops even after you straighten it out. That
causes the cords to get tangled, because they cannot be smoothly
pulled through things.

So, there is not really a way to coil a cord (short of putting it
on a spool and spinning the spool) without causing the cord to
twist. But there is a loophole you can exploit: you can twist
one direction for one loop and then other direction for the next
loop. This leaves you with basically no net twist, so that when
you yank both ends of the cable, the thing just uncoils naturally
with a minimum of tangling.

I think there is more than one way to accomplish this alternating
twist thing, so I'll just describe the way I do it.

1. Stick left hand out with palm up.
2. Lay cable end over hand so connector points away from my body
and hangs between thumb and pointer finger.
3. Grip cable between thumb and pointer finger.
4. With right hand, stretch cable back to my elbow, grabbing
between thumb and pointer finger.
5. With one motion, twist cable and form a loop. Twisting
is accomplished by having thumb (on top) move to the left
and fingers (below) move to the right.
6. At this point, hands are together and cable is between them;
transfer new loop from right hand to left.
7. Now form another loop, but in contrast to #5, twist the
opposite direction. Instead of twisting with just the
fingers, twist with the wrist. As my right hand moves
toward my left, my right hand is turning over so that
the palm of my hand faces upward rather than the back of
my hand. Also my right elbow moves towards the left elbow.
8. At this point, hands are together, but new loop of cable
is not between them. Instead, the loop of cable is draped
over my right hand and my right hand is between the coil
and the new loop. Transfer the loop to the left hand.
9. Now, repeat starting at step 5, so that each loop is
done the opposite way from the preceding loop.

When you are done, you should be able to take the loop of cable,
hold one end, and toss the whole thing out across the floor, and
you should have a straight cable with no loops and no tangles.

Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

- Logan

Logan Shaw wrote:

you can twist
one direction for one loop and then other direction for the next
loop.

Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

Thanks! That'll take some practice...

Maybe, just maybe this will change my life... I have a special talent
for messing up cables. Cables of all sorts. Not just audio cables. Power
cables, computer cables, any cable or any string or anything remotely
resembling a piece of string of any length automatically turns into a
monstrous knot. Sometimes even before I touch it...

Lars


--
lars farm // http://www.farm.se
lars is also a mail-account on the server farm.se

Logan Shaw wrote:

you can twist
one direction for one loop and then other direction for the next
loop.

Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

Thanks! That'll take some practice...

Maybe, just maybe this will change my life... I have a special talent
for messing up cables. Cables of all sorts. Not just audio cables. Power
cables, computer cables, any cable or any string or anything remotely
resembling a piece of string of any length automatically turns into a
monstrous knot. Sometimes even before I touch it...

Lars


--
lars farm // http://www.farm.se
lars is also a mail-account on the server farm.se

Others have replied with the technique. But you've got to
practice, practice, practice. It won't get you to Carnegie
Hall, but the crew won't laugh at you or throw you out of
the place if you ever have to work there. And yes, it will
probably change your life.

Note that nearly everything in your life that can be coiled
(cables, cords, hoses, tie-down straps, etc.) can benefit
from this type of wrap. Actually, you will be the one to
benefit. It is especially useful when coiling garden hose
(if you don't have a reel). Makes it nice to just pull it
out of the coil without any twists.



TM

Lars Farm wrote:

T Maki wrote:

And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]

I know the thumb-and-elbow technique, but please decribe the other.

Others have replied with the technique. But you've got to
practice, practice, practice. It won't get you to Carnegie
Hall, but the crew won't laugh at you or throw you out of
the place if you ever have to work there. And yes, it will
probably change your life.

Note that nearly everything in your life that can be coiled
(cables, cords, hoses, tie-down straps, etc.) can benefit
from this type of wrap. Actually, you will be the one to
benefit. It is especially useful when coiling garden hose
(if you don't have a reel). Makes it nice to just pull it
out of the coil without any twists.



TM

Lars Farm wrote:

T Maki wrote:

And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]

I know the thumb-and-elbow technique, but please decribe the other.

Logan Shaw wrote:

snip an excellent explanation of the technique


When you are done, you should be able to take the loop of cable,
hold one end, and toss the whole thing out across the floor, and
you should have a straight cable with no loops and no tangles.

Just be sure to pull the correct end out of the coil before
tossing the whole thing across the floor. Pull the wrong end
out, and you get what we use to call "assholes" - one for
each loop. Called that because of their similarity to a
bodily orifice, the way you feel after you've done it, and
what you are called by the stage crew standing behind the
stage right leg.


TM


Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

- Logan

Logan Shaw wrote:

snip an excellent explanation of the technique


When you are done, you should be able to take the loop of cable,
hold one end, and toss the whole thing out across the floor, and
you should have a straight cable with no loops and no tangles.

Just be sure to pull the correct end out of the coil before
tossing the whole thing across the floor. Pull the wrong end
out, and you get what we use to call "assholes" - one for
each loop. Called that because of their similarity to a
bodily orifice, the way you feel after you've done it, and
what you are called by the stage crew standing behind the
stage right leg.


TM


Boy, hope that makes sense. It's hard to explain all that stuff
without being able to be visual.

- Logan

1. Take all you need, but no more than you need.

....And know that you'll probably need more than you think...


Joe Egan
EMP
Colchester, VT
www.eganmedia.com

1. Take all you need, but no more than you need.

....And know that you'll probably need more than you think...


Joe Egan
EMP
Colchester, VT
www.eganmedia.com

For really fast breakdowns, I recommend using Phase Linear amplifiers.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

For really fast breakdowns, I recommend using Phase Linear amplifiers.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

(Scott Dorsey) wrote:
For really fast breakdowns, I recommend using Phase Linear amplifiers.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

My recomendation for break-down is Bryston amplifiers. At least the 25-year
warranty will only leave you with the cost of returning the unit to Bryston and
perhaps a $30 charge to replace your shipping carton that will surely be
damaged in transit by the 2nd return trip.

(Scott Dorsey) wrote:
For really fast breakdowns, I recommend using Phase Linear amplifiers.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

My recomendation for break-down is Bryston amplifiers. At least the 25-year
warranty will only leave you with the cost of returning the unit to Bryston and
perhaps a $30 charge to replace your shipping carton that will surely be
damaged in transit by the 2nd return trip.

EganMedia wrote:

1. Take all you need, but no more than you need.

...And know that you'll probably need more than you think...

And don't forget spares for anything that might ever possibly fail.

EganMedia wrote:

1. Take all you need, but no more than you need.

...And know that you'll probably need more than you think...

And don't forget spares for anything that might ever possibly fail.

On Thu, 18 Nov 2004 09:43:27 -0800, T Maki wrote:


12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth.

And, they are particularly not recommended if you had a certain really
nasty habit in the 70s (or any other time you had/have the habit and
want to hold anything besides a fine hand rolled Dominican or Cuban
between your teeth.)

A long time ago, I started using 'headlights' for this purpose. The
first I tried were built like eyeglass frames, with a little light at
each temple hinge. Then, there were types that hooked to your ball
cap, and others with head straps. Kinda like miner's lamps; both hands
are free, no tooth degradation. Lots of these are sold in the fishing
sections of department stores, as well as other places.

What I have used most recently, and find to be the 'best yet' IMO, is
the TopSpot(r) by Streamlight. (Don't know if they have a website.)
Works on 4 AA batteries, with a decent battery lifespan. Has an
adjustable vertical angle lense, and a (not extravagant) focus
control. You can wear it with a ball cap, a do-rag, or a nekkid head
with equally acceptable results. You can leave one of these things on
your head for hours, without discomfort. Has a little on/off switch,
so it's not lit all the time like some older similar models. Great for
bench work too, as well as camping/backpacking and of course night
fishing. It also has a little slider doo-dad that clips the assembly
together into a reasonable hand held flashlight. (Not easy to
describe, but a nice feature.)

And no, I'm not associated with them or anything like that. I've just
tried a lot of these types of things... and if I ever find something I
like better, I'll buy it... and maybe even tell y'all about it...



====================
Tracy Wintermute

Rushcreek Ranch
====================

On Thu, 18 Nov 2004 09:43:27 -0800, T Maki wrote:


12. Get and use a convenient little flashlight that you can
hold comfortably in your mouth. The little MagLites are
okay, but are heavy and not easy to hold between teeth.

And, they are particularly not recommended if you had a certain really
nasty habit in the 70s (or any other time you had/have the habit and
want to hold anything besides a fine hand rolled Dominican or Cuban
between your teeth.)

A long time ago, I started using 'headlights' for this purpose. The
first I tried were built like eyeglass frames, with a little light at
each temple hinge. Then, there were types that hooked to your ball
cap, and others with head straps. Kinda like miner's lamps; both hands
are free, no tooth degradation. Lots of these are sold in the fishing
sections of department stores, as well as other places.

What I have used most recently, and find to be the 'best yet' IMO, is
the TopSpot(r) by Streamlight. (Don't know if they have a website.)
Works on 4 AA batteries, with a decent battery lifespan. Has an
adjustable vertical angle lense, and a (not extravagant) focus
control. You can wear it with a ball cap, a do-rag, or a nekkid head
with equally acceptable results. You can leave one of these things on
your head for hours, without discomfort. Has a little on/off switch,
so it's not lit all the time like some older similar models. Great for
bench work too, as well as camping/backpacking and of course night
fishing. It also has a little slider doo-dad that clips the assembly
together into a reasonable hand held flashlight. (Not easy to
describe, but a nice feature.)

And no, I'm not associated with them or anything like that. I've just
tried a lot of these types of things... and if I ever find something I
like better, I'll buy it... and maybe even tell y'all about it...



====================
Tracy Wintermute

Rushcreek Ranch
====================

In article 1gnh06j.dmink97pbti2N%mail.addr.can.be.found@www. farm.se writes:

you can twist
one direction for one loop and then other direction for the next
loop.

Maybe, just maybe this will change my life... I have a special talent
for messing up cables. Cables of all sorts.

In that case, I suggest you keep doing what you're doing. Pass the end
of the cable through the hole and start unwinding and you'll get a
string of evenly spaced knots. Great if you need to make a rope ladder
to rescue a man overboard, but not good for cables that need to lay
flat on stage.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

In article 1gnh06j.dmink97pbti2N%mail.addr.can.be.found@www. farm.se writes:

you can twist
one direction for one loop and then other direction for the next
loop.

Maybe, just maybe this will change my life... I have a special talent
for messing up cables. Cables of all sorts.

In that case, I suggest you keep doing what you're doing. Pass the end
of the cable through the hole and start unwinding and you'll get a
string of evenly spaced knots. Great if you need to make a rope ladder
to rescue a man overboard, but not good for cables that need to lay
flat on stage.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo

T Maki wrote in :

1. Take all you need, but no more than you need.

That's always the tough one. I showed up Tuesday to record two groups
and discovered I needed three setups instead.

2. Modularize your stuff, and have it pre-wired before you
leave your place.

The joys of well integrated travel cases.

3. "A place for every thing, and everything in its place."

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

But if you brought only what you need, it's all still in use until the
show's over.

5. If you set up back stage, get as close to the stage exit
as you can considering where you have to run power and
signal wires. And of course, you parked as close to that
door as possible, right?

Thank Congress for legislation requiring handicap access. My cart can
get to most stages.

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

Here you lose me. Can you elaborate.

7. When situations permit, make up and use snakes and
"StarQuad" stereo pairs. Make cable adapters or adapter
boxes for each end with D5F/M and D3F/M. It's amazing how
much time and grief is saved by just using efficient
cabling.

Snakes are my friend, too. But I only use two mic snakes as I mic most
of my sources (orchestras, choruses, etc.) in stereo.

8. Get to the location early enough to set your stuff up,
run your cabling in the most efficient way with strike in
mind, and certainly out of the way of both the performing
group and any stage crew that has no interest in how
difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

In my world, the biggest problem is getting the audience out of the way.
I almost never get to put mics on stage.

9. Use only enough gaffer tape (never duct tape) to do the
job. No more, no less. Unless house rules require you to
tape every inch of your cabling, don't. Just tape the areas
of obvious traffic safety.

And I can always find a 10 year old at the end of the show who wants the
ball of pulled-up tape.

10. You already know the proper way to remove your gaffer
tape from your cabling on the floor. Never, NEVER, _NEVER_
allow a stranger (including stage crew), friend, or family
member - no matter how good-hearted - to touch your
taped-down cabling. And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid), never,
NEVER, _NEVER_ allow the above listed to touch your cabling.
NEVER.

I learned that one the hard way many years ago. That's one reason
strikes take as long as they do. I've got to track down hundreds of feet
of mic cable by myself so I know I can use it again the next day.

I've learned to collect the cable in a circular motion that keeps it
untwisted without resorting to figure eights.

There's ten. Good start on an article for somebody.

I did a location last night and was on the highway to home
before the audience had cleared the house.

And on a simple setup, I can do the same, but Tuesday (just before I
posted this) the maintenance guys were waiting on me, the last one out.

T Maki wrote in :

1. Take all you need, but no more than you need.

That's always the tough one. I showed up Tuesday to record two groups
and discovered I needed three setups instead.

2. Modularize your stuff, and have it pre-wired before you
leave your place.

The joys of well integrated travel cases.

3. "A place for every thing, and everything in its place."

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

But if you brought only what you need, it's all still in use until the
show's over.

5. If you set up back stage, get as close to the stage exit
as you can considering where you have to run power and
signal wires. And of course, you parked as close to that
door as possible, right?

Thank Congress for legislation requiring handicap access. My cart can
get to most stages.

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

Here you lose me. Can you elaborate.

7. When situations permit, make up and use snakes and
"StarQuad" stereo pairs. Make cable adapters or adapter
boxes for each end with D5F/M and D3F/M. It's amazing how
much time and grief is saved by just using efficient
cabling.

Snakes are my friend, too. But I only use two mic snakes as I mic most
of my sources (orchestras, choruses, etc.) in stereo.

8. Get to the location early enough to set your stuff up,
run your cabling in the most efficient way with strike in
mind, and certainly out of the way of both the performing
group and any stage crew that has no interest in how
difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

In my world, the biggest problem is getting the audience out of the way.
I almost never get to put mics on stage.

9. Use only enough gaffer tape (never duct tape) to do the
job. No more, no less. Unless house rules require you to
tape every inch of your cabling, don't. Just tape the areas
of obvious traffic safety.

And I can always find a 10 year old at the end of the show who wants the
ball of pulled-up tape.

10. You already know the proper way to remove your gaffer
tape from your cabling on the floor. Never, NEVER, _NEVER_
allow a stranger (including stage crew), friend, or family
member - no matter how good-hearted - to touch your
taped-down cabling. And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid), never,
NEVER, _NEVER_ allow the above listed to touch your cabling.
NEVER.

I learned that one the hard way many years ago. That's one reason
strikes take as long as they do. I've got to track down hundreds of feet
of mic cable by myself so I know I can use it again the next day.

I've learned to collect the cable in a circular motion that keeps it
untwisted without resorting to figure eights.

There's ten. Good start on an article for somebody.

I did a location last night and was on the highway to home
before the audience had cleared the house.

And on a simple setup, I can do the same, but Tuesday (just before I
posted this) the maintenance guys were waiting on me, the last one out.

On Thu, 18 Nov 2004 22:02:48 GMT, Logan Shaw wrote:
Lars Farm wrote:

T Maki wrote:


And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]


I know the thumb-and-elbow technique, but please decribe the other.

The other way is all about not twisting up the cords as you coil them up.


1. Stick left hand out with palm up.

(snip)

Reminds me of a party game:

Without using your hands, describe how to tie a necktie.

On Thu, 18 Nov 2004 22:02:48 GMT, Logan Shaw wrote:
Lars Farm wrote:

T Maki wrote:


And unless they know how to coil your
cables the way you want them - (whether lariat-wrap, or the
more common thumb-and-elbow technique (God forbid) [...]


I know the thumb-and-elbow technique, but please decribe the other.

The other way is all about not twisting up the cords as you coil them up.


1. Stick left hand out with palm up.

(snip)

Reminds me of a party game:

Without using your hands, describe how to tie a necktie.

Carey Carlan wrote:

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

But if you brought only what you need, it's all still in use until the
show's over.

You define what you need, and when you need it. Certainly
you don't take every stand, every cable, and every piece of
equipment to every show, and unload it all. With practice,
you get an intuitive feel for what it takes.

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

Here you lose me. Can you elaborate.

Try to think through the set up as far ahead as possible. If
you have the luxury of seeing the venue in rehearsal, forget
about basking in the glorious sound of the room, clapping
your hands and snapping you fingers, and putting on the
impression that you're some kind of "recording engineer"
(not that you do that). Get a general feel for the sound,
and then spend your time hunting down the most efficient way
to run your cables, finding power outlets (especially ones
that work or are not on the breaker with the coffee pot for
the after-show reception) and whether or not those outlets
have three holes (your ground lift adapter will always be in
the case you left behind unless you carry one in every case
you own as I learned to do years ago), and what your
alternatives are in case the house manager (or other person
who will declare that "you can't set those there") declares
that "you can't set those there." Get in as early as
possible. Make arrangements if you can with the director of
the show to get you in early. If you can't get in early, you
just have to develop a sense to sniff out the outlets, etc.
I've been doing this kind of work for nearly 30 years in
many places in this country and overseas, and I've developed
that sense. After the show, your time is limited because
everybody wants to get out of there. You will not be
appreciated if your strike puts the maintenance person on
overtime. He/she will love it, but either the group or the
house is paying for it, and if you work with the kinds of
groups I've worked over the years, your spending their money
for them may wind up costing YOU (what is the sound of a
telephone not ringing...?) And, of course, if you're setting
up in a festival situation and another group is scheduled on
stage in 15 minutes that you aren't recording, and you have
to get your stuff out of there...

7. When situations permit, make up and use snakes

Snakes are my friend, too. But I only use two mic snakes as I mic most
of my sources (orchestras, choruses, etc.) in stereo.

Snakes aren't necessarily 24X16, or 56X24 affairs. A snake
is just any combination of multipairs that get the job done.
Belden and most of the other wire manufacturers make a nice
selection of multipair (Belden's Brilliance line is quite
nice). Buy a couple of hundred feet of 4-pair or 6-pair or
8-pair (or whatever your budget dictates) and make the
number of stereo pairs you typically need. If you know you
most often need three stereo feeds, make up a 6-pair in the
length(s) you typically need. If all you ever do is a single
pair with an occassional other pair (whether "stereo" or
not) then just have a selection of 2-pair (I use Canare
StarQuad) with A5F and A5M with the necessary adapters.
(Apologies to the Neutrik worshippers. I use Switchcraft
almost exclusively for reasons of my own.)

difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

In my world, the biggest problem is getting the audience out of the way.
I almost never get to put mics on stage.

Mine too. That's when you have to exercise people skills and
have a chat with the director of the organization and give
them the option of making the decision. You tell them that
to make the best recording under the circumstances, you will
have to put the mic stand(s) in what may be the best seat(s)
in the house with a couple of seats on both sides. If you
can't put your equipment there, the recording will be
compromised somewhat. "What would you like me to do?" I
record many things where the patron seats or season
subscriber seats are, of course, the best seats. No
compromise possible in that case. I do the best I can while
trying to be unobtrusive (and certainly polite) to the
audience. You never know who that little blue-haired lady is
that's right where you want to put your stand.

I did a location last night and was on the highway to home
before the audience had cleared the house.

And on a simple setup, I can do the same, but Tuesday (just before I
posted this) the maintenance guys were waiting on me, the last one out.

Just to be fair, I get a lot of time chatting with drummers.
Mainly because drummers and sound people (or recordists in
this context) are the first ones there and the last to
leave. Most of the time, custodians are waiting for me, too.


TM

Carey Carlan wrote:

4. Use pre-show time, and intermissions to pre-strike and
organize the stuff you don't need. Pack it in your vehicle.
Use down time wisely.

But if you brought only what you need, it's all still in use until the
show's over.

You define what you need, and when you need it. Certainly
you don't take every stand, every cable, and every piece of
equipment to every show, and unload it all. With practice,
you get an intuitive feel for what it takes.

6. Set up with strike in mind. You've almost always got the
luxury of time before the show. Almost never afterwards.

Here you lose me. Can you elaborate.

Try to think through the set up as far ahead as possible. If
you have the luxury of seeing the venue in rehearsal, forget
about basking in the glorious sound of the room, clapping
your hands and snapping you fingers, and putting on the
impression that you're some kind of "recording engineer"
(not that you do that). Get a general feel for the sound,
and then spend your time hunting down the most efficient way
to run your cables, finding power outlets (especially ones
that work or are not on the breaker with the coffee pot for
the after-show reception) and whether or not those outlets
have three holes (your ground lift adapter will always be in
the case you left behind unless you carry one in every case
you own as I learned to do years ago), and what your
alternatives are in case the house manager (or other person
who will declare that "you can't set those there") declares
that "you can't set those there." Get in as early as
possible. Make arrangements if you can with the director of
the show to get you in early. If you can't get in early, you
just have to develop a sense to sniff out the outlets, etc.
I've been doing this kind of work for nearly 30 years in
many places in this country and overseas, and I've developed
that sense. After the show, your time is limited because
everybody wants to get out of there. You will not be
appreciated if your strike puts the maintenance person on
overtime. He/she will love it, but either the group or the
house is paying for it, and if you work with the kinds of
groups I've worked over the years, your spending their money
for them may wind up costing YOU (what is the sound of a
telephone not ringing...?) And, of course, if you're setting
up in a festival situation and another group is scheduled on
stage in 15 minutes that you aren't recording, and you have
to get your stuff out of there...

7. When situations permit, make up and use snakes

Snakes are my friend, too. But I only use two mic snakes as I mic most
of my sources (orchestras, choruses, etc.) in stereo.

Snakes aren't necessarily 24X16, or 56X24 affairs. A snake
is just any combination of multipairs that get the job done.
Belden and most of the other wire manufacturers make a nice
selection of multipair (Belden's Brilliance line is quite
nice). Buy a couple of hundred feet of 4-pair or 6-pair or
8-pair (or whatever your budget dictates) and make the
number of stereo pairs you typically need. If you know you
most often need three stereo feeds, make up a 6-pair in the
length(s) you typically need. If all you ever do is a single
pair with an occassional other pair (whether "stereo" or
not) then just have a selection of 2-pair (I use Canare
StarQuad) with A5F and A5M with the necessary adapters.
(Apologies to the Neutrik worshippers. I use Switchcraft
almost exclusively for reasons of my own.)

difficult it is for you to get your stuff out. Their only
motivation is to get the stage cleared and get out of there
ASAP. They don't want to wait around for you to untangle
your pile of spaghetti.

In my world, the biggest problem is getting the audience out of the way.
I almost never get to put mics on stage.

Mine too. That's when you have to exercise people skills and
have a chat with the director of the organization and give
them the option of making the decision. You tell them that
to make the best recording under the circumstances, you will
have to put the mic stand(s) in what may be the best seat(s)
in the house with a couple of seats on both sides. If you
can't put your equipment there, the recording will be
compromised somewhat. "What would you like me to do?" I
record many things where the patron seats or season
subscriber seats are, of course, the best seats. No
compromise possible in that case. I do the best I can while
trying to be unobtrusive (and certainly polite) to the
audience. You never know who that little blue-haired lady is
that's right where you want to put your stand.

I did a location last night and was on the highway to home
before the audience had cleared the house.

And on a simple setup, I can do the same, but Tuesday (just before I
posted this) the maintenance guys were waiting on me, the last one out.

Just to be fair, I get a lot of time chatting with drummers.
Mainly because drummers and sound people (or recordists in
this context) are the first ones there and the last to
leave. Most of the time, custodians are waiting for me, too.


TM

Carey Carlan wrote:
What are your tricks for fast breakdown after a location gig?

I find most of my time is spent collecting cables.

Good tips below in the thread.

One of my favorites is to never coil excess mic cords by the drum snake. If
at all possible, merely pull the exess into a single single loop behind the
riser. Sure it doesn't look as pretty as nicely coiled up cables, but when
you go to re-coil it, it won't tangle either. Besides, it can be fairly
neatly laid out behind the riser; and nobody's gonna see it except the
drummer anyway...he doesn't count.

All of the above is assuming that you don't already have a pre-made drum
loom....

jak