The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
FOH options for small festival.
Old 4 days ago
  #1
Here for the gear
 

Thread Starter
FOH options for small festival.

Hello, first I will say I am new here, found the forum through a Google search. So first off, glad to be here.

Now to ask for some advice. I was asked to provide a sound system for a local music festival in October. It will be outdoors. And the stage (20ft wide by 20 ft deep) is a band shell (1/4 dome 26 ft wide and high by 13 ft deep). The festival area is about the size of a football field, and is a steady uphill grade. Seating for maybe 150 with grass seating behind. There will be 8 local rock/cover bands over 2 days and 16 hours. I was asked to provide FOH, monitors, mics, mixer, and connections. The bands want to show up and be plug and play. Already asked, no special equipment requested by riders.

The park is 275ft long by 135 ft wide and surrounded by homes, so I have to watch the volume. Sound quality and proper coverage is my first priority over pure SPL.

My initial thought was too rent a very good but dated EAW system (4 KF650s, over 4 KF600 subs) from a local dealer, but my local dealer gave me great pricing on the following packages to purchase. Which would you choose and why?

Package 1: 4 RCF HD-12A's with 4 RCF 708AS MKII subs, as well as 2 more HD12As to be used as stage monitors.

Package 2: 2 FBT Mitus 114A's with 2 FBT Q118SA subs, along with 2 Yamaha DBR10's for use as monitors

Other options included 4 QSC KLA's over 4 KW181s, also a system with 4 Peaveys RBN's for FOH

I'm leaning towards the Italian made stuff personal preference. I like the modularity of the RCF setup, but the FBT system is just pure power which I can add to for more coverage down the road. Another plus for the RCF is it matches my Evox systems, so I can use the subs to supplement my Evox's on medium sized events.
Attached Thumbnails
FOH options for small festival.-shell3.jpg   FOH options for small festival.-shell2.jpg   FOH options for small festival.-shell1.jpg  
Old 4 days ago
  #2
Lives for gear
 
mojo filters's Avatar
 

That's a big space to cover, despite your volume restrictions. Buying gear just because your getting a good deal doesn't make sense - the wrong piece of gear at the right price is still the wrong piece of gear!

Going on the details you've provided, the EAW 650 package is the only one going to get you anywhere close to the sound quality and volume you're after. Another benefit of using some decent arrayable speakers, as opposed to powered boxes, is the narrower dispersion of a box like the 650. Some of the powered boxes mentioned really don't array side-by-side, unless you're after very, very wide coverage.

Boxes like the KF650 and KF850 achieve their nominal coverage pattern down to much lower frequencies than a typical 2-way box such as the HD12a, thanks to both the HF and mid drivers having sufficiently large horns to control longer wavelengths. This ability to keep the coverage on the crowd and away from neighbouring houses and other establishments that will consider noise spillage an environmental hazard, should be noted and used to help with the spill you're concerned about.

How much experience have you got running an event like this? You may find the logistics are far more complex and time-consuming than you anticipate!

I'd suggest having the provider with the EAW rig come and run the sound for you. That will allow you to focus your energies on matters such as stage management, to ensure the event runs smoothly.

Have you consulted local providers to ask specifically what they'd recommend, for this space? Whilst the KF650 is a capable and decent sounding box, just one pair per side doesn't seem much for an event covering the size of a football field! However if you really are limited with the volume, they may be quite adequate, and with a pair per side there will be plenty of sound right in front of the stage. Generally people move where they like, according to how loud they want the music, at this type of event.

I'm assuming the subs you're referring to are basically a double 18" box, akin to the SB850 that goes under the KF850 tops? In which case for decent sub bass performance outdoors, ideally I'd want a minimum of a 2:1 ratio subs:tops. However if your programme doesn't include any reggae, dance music, electronica or other bass-heavy genres, you may manage ok with less.

I really think buying some gear primarily for one event is foolish and unnecessary. You'll spend much more than you need, whilst getting a far poorer result. You also need to factor in all the extras that mount up, such as mic stands, leads of all kinds, cases and so forth - hiring in a full service professional sound reinforcement provider eliminates all these headaches!
Old 4 days ago
  #3
Here for the gear
 

Thread Starter
@Mojo thank you for the great advice. I am starting to move my company from what was originally a private event company towards event production. The system if purchased is intended to be used at other small>medium events as I grow the company's production side. The FBT has a rotatable horn making the cabinets side by side array able (up to 3 per side). And the FBT subs can hit 140db (FBT doesn't typically fudge numbers). If I went with the RCF setup, it matches current RCF systems I own making my setups more modular. I would not array the tops but run them delayed up on the grass area.
Old 4 days ago
  #4
KEL
Lives for gear
 

I would be less concerned by which speakers to use at this point, than the hundreds of other details seemingly missing from this whole event. Two dbr10 fit monitors? Taken at face value, it would seem that there may be a serious lack of experience doing these kinds of things. But, the event is in the fall so there is time to get help. If approached to do this I'd have a number of thoughts and questions.

Is this the first year?
If not, what has attendance been?
Real world Attendance expectations
Are there other things going on, booths, vendors?
What's the electricity situation?
Can the gear be left setup overnight?
Is there security?
Is there beer/wine served?
What does "plug & play" mean?
What equipment do you own?
Egress points vs cabling/snake
The upper grass area looks like a delay distributed system area to me, instead of trying to reach it from the stage stacks
Lighting?
What bands specifically?
Who's the organizer?
Who's the money?
Does the gig need to be back Lined?
Insurance...who's additionally insured?


Probably twenty more questions, not the least of which might be your experience level at these kinds of events...
Old 4 days ago
  #5
Gear Head
 

Sorry, but just to add to the negatives - it's not really a great venue - that band shell could play havoc with stage spill, and I don't really like the tiered benches - much more suitable for a wind/brass band.

But I suspect it's a relatively low-end event and that they'll be happy with whatever they get.

Of the suggestions, the EAW rig sounds the most promising, but definitely get more information. Particularly numbers! Also - plug-and-play - sounds like you'll be providing backline and drumkit - make sure there are no assumptions being made here. And definitely, if it's your first festival, get help, prepare 20 times over, and expect to be run ragged. No substitute for a first time, though!
Old 4 days ago
  #6
Gear Maniac
 

Quote:
Originally Posted by KEL View Post
I would be less concerned by which speakers to use at this point, than the hundreds of other details seemingly missing from this whole event.

Who's the money?

This. I've been a part of events produced by buddies at Union Square in San Francisco that has a similar outdoor stage. The space is massive and looking at it one would think it calls for something close to a touring system. But they do it several times a year with a pair of Behringers and two old carpeted JBL's.

The musicians are good. They've sold over 2 million albums. But they produce this themselves and the biggest expense is the permit from the city. There is no money at all. They do it at a total loss. So they use what they have and are willing to have beat-up in an outdoor city environment.

Your comments indicate you're looking to validate acquiring the FBT for other venues or adding to your inventory of RCF equipment. If that's the case, justify it that way instead of by this festival. If this festival doesn't demand a top-line system and there's no money in it, just use what you have.
Old 4 days ago
  #7
Here for the gear
 

Thread Starter
[QUOTE=KEL;12631245]If approached to do this I'd have a number of thoughts and questions.

Quote:
Is this the first year?
no
Quote:
If not, what has attendance been?
about 300 max coming and going throughout the day
Quote:
Real world Attendance expectations
the same
Quote:
Are there other things going on, booths, vendors?
Food trucks and sponsor tents along the road
Quote:
What's the electricity situation?
2 110V 20A
Quote:
Can the gear be left setup overnight?
It can, but I won't except the trussing/lighting, nothing on the ground
Quote:
Is there security?
random police patrol only, police station at end of park
Quote:
Is there beer/wine served?
kind of, close by restaurant serving alcohol
Quote:
What does "plug & play" mean?
Sorry, the bands want to bring their instruments and nothing else. I provide pics, stands, DI's, etc.
Quote:
What equipment do you own?
For this event or everything? I can fill pages with everything. I already have mixer (Yamaha MG16U or MGP 32x, multiple share Beta 58 mics & stands for vocals, 150ft Snake. Lighting, Trussing, 8 Blizzard Torrent F5 Moving Heads, Blizzard HotBox EXAs for Wash. Need DI's, and proper sound.
Quote:
Egress points vs cabling/snake
Snake run along outside of stone walls, not crossing any points of public access
Quote:
The upper grass area looks like a delay distributed system area to me
That was my original intention with the RCF's
Quote:
Lighting?
Above Trussing, moving heads, and wash provided by me.
Quote:
What bands specifically?
They gave me two Becky and the Beast, and A.D.D., they are still confirming rest.
Quote:
Who's the organizer?
Local downtown improvement committee
Quote:
Who's the money?
Sponsors
Quote:
Does the gig need to be back Lined?
Not asked for, and kind of hard due to shell shape
Quote:
Insurance...who's additionally insured?
My company has liability coverage as long as I don't fly anything. I can go up to 12 ft from ground with trussing.


Quote:
Probably twenty more questions, not the least of which might be your experience level at these kinds of events...
Lastly, I have very little experience, which is why I am hiring someone for this event who works at a local arena to run sound. We have to start somewhere.

Quote:
Originally Posted by AlecSp View Post
Sorry, but just to add to the negatives - it's not really a great venue - that band shell could play havoc with stage spill, and I don't really like the tiered benches - much more suitable for a wind/brass band.

But I suspect it's a relatively low-end event and that they'll be happy with whatever they get.

Of the suggestions, the EAW rig sounds the most promising, but definitely get more information. Particularly numbers! Also - plug-and-play - sounds like you'll be providing backline and drumkit - make sure there are no assumptions being made here. And definitely, if it's your first festival, get help, prepare 20 times over, and expect to be run ragged. No substitute for a first time, though!
Thanks,
Yes last year's sound was provided by 2 powered 15" Behringer tops on sticks. I'm hoping to surpass that.
Old 3 days ago
  #8
Here for the gear
 

Thread Starter
Quote:
Originally Posted by Calneva View Post
Your comments indicate you're looking to validate acquiring the FBT for other venues or adding to your inventory of RCF equipment. If that's the case, justify it that way instead of by this festival. If this festival doesn't demand a top-line system and there's no money in it, just use what you have.
I was asking if either of these systems would be enough in the eyes of the experts...yes. If not, I will just rent as I originally intended. The rental shop told me the FBT would outrun the EAW setup. Which is why I am even looking. I have been contemplating the RCF gear as it would work great for corporate events indoors. I use RCF Evox systems for most DJ events, and Corporate speaking engagements. If the RCF would suffice for the festival, it would make my current inventory much more flexible, along with the possibility of expanding into more events like the one in this OP. Many of the outdoor festivals around here consist of two Behringer or Mackie thumps on sticks. I want to be able to provide a better option to those customers.
Old 3 days ago
  #9
KEL
Lives for gear
 

That's good info DJstevieray.Seems like you have a reasonable grasp on a number of things.

That looks surprisingly like a venue right in my town. As mentioned, the bandshell is awful for band acoustics. I put up pipe & drape to try and help at ours. is that in pennsylvania?

The raked audience poses some issues. I've mixed at out 75 year old outdoor amphitheater with my old QSC HPR153 over 181 rig. slight tilt upward on the tops, strapped down. At another venue like that, I cranked up a pair of KW152 on Global 132 stands and put K8 as lip/front fills.

This doesn't look like it needs to be a monster PA gig...to me anyhow. I'd probably do it with 4 x 18 subs, two tops then something tiny for delay cabs that are parallel with the mains and timed with some extra haas ms. I suspect that most people just move to where they want the sound to be comfortable , or if they are band followers, they'll come up close...then leave
Old 3 days ago
  #10
Here for the gear
 

Thread Starter
Quote:
Originally Posted by KEL View Post
That's good info DJstevieray.Seems like you have a reasonable grasp on a number of things.

That looks surprisingly like a venue right in my town. As mentioned, the bandshell is awful for band acoustics. I put up pipe & drape to try and help at ours. is that in pennsylvania?

The raked audience poses some issues. I've mixed at out 75 year old outdoor amphitheater with my old QSC HPR153 over 181 rig. slight tilt upward on the tops, strapped down. At another venue like that, I cranked up a pair of KW152 on Global 132 stands and put K8 as lip/front fills.

This doesn't look like it needs to be a monster PA gig...to me anyhow. I'd probably do it with 4 x 18 subs, two tops then something tiny for delay cabs that are parallel with the mains and timed with some extra haas ms. I suspect that most people just move to where they want the sound to be comfortable , or if they are band followers, they'll come up close...then leave
Hi KEL,
Yes it is in Pennsylvania. Lehighton PA to be exact.
Old 3 days ago
  #11
KEL
Lives for gear
 

btw, I get along with most any brand of PA. There are a lot of good mfgrs and some really surprisingly good active stuff on the market now. But, having done this for a few decades, I choose differently now. I'm not opposed to clean used gear where you might move up the quality food chain for the same amount of $. The other thing is, I tend to buy brands that can be serviced locally, but not only from the vendor where you purchased. We are somewhat spoiled out here in S. Ca. since Yamaha and QSC are right in my "back year". But, I will say that Yamaha and QSC have a very reliable track record and great warranty. JBL is also here but has a somewhat sketchy repair record.

Not sure what that adds to this other than to try and look ahead, not only to what gigs you might have but to how much redundancy you have in the rig, how much scalability, and how quickly you can be back in business after a breakdown.
Old 3 days ago
  #12
Lives for gear
 

The logistics for even a relatively small event like this can be daunting and you can get lost in the details and work if you're not careful. It takes a lot of planning and organization to produce these types of events without any major problems and disappointments. Make sure you have a clear picture and understanding of what is expected of you, and what your duties are, and get everything in writing if possible. Give a the organizers a cutoff date when they have to give you all the details...exact number of bands their riders etc.and have regular meetings with the organizing committee so nothing gets forgotten under the rug.

Do not install a delay system...! consider this; the festival was run with a pair of plastic boxes on sticks before and realistically you're only expecting about 300 people at any one time. The area is big, but you're not obliged to fill it with sound, concentrate on making the area in front of the stage as nice sounding as possible and with four 650s you will be able to fill it nicely. The people who really want to hear the bands will come there to see and hear the bands while the people on the edge of the park are probably trying to be outside the "loud zone"...let them be.

I'm not going to try and tell you how to run your business but this is something you might want to think about; If you really want to move ahead of the competition (for these types of events) the EAW system is the best of the bunch in my opinion, the other systems represent a sideways move...more MI boxes with similar performance capabilities with a different name on the grill. If however it's more important for you to expand more into corporate/talking-head events, the EAW boxes might sound better but might not be sexy enough.
Old 3 days ago
  #13
Here for the gear
 

Thread Starter
Thanks Sam,

Kel, RCf is about an hour drive away in NJ
Old 3 days ago
  #14
KEL
Lives for gear
 

Quote:
Originally Posted by DJStevieRay View Post
Thanks Sam,

Kel, RCf is about an hour drive away in NJ
that puts them in 1st place IMO.

Sam makes some good points too. What might be easy and comfortable for me is only because I own enough equipment to design the gig system a few ways. I'd do a smaller mains then delay system to actually keep the volume to the neighbors down. Seeing that you have a pretty low target to hit based on previous show "design". a simple, solid solution is probably best. There are a zillion things to consider besides stacks & racks.

I'll add that I do not believe that "MI" boxes are in any way a deterrent to being a successful provider. they're perfectly fine for dozens of job types. What puts you ahead of another provider are: quality work, people skills, being on time, solving problems, sizing a system for the event, caring...and less about whether you have a Yamaha, RCF or Meyer rig. That's my opinion based on a few decades of work and always being in demand.
Old 3 days ago
  #15
Here for the gear
 

Thread Starter
FWIW: I Googled "sound production companies" and "live sound rentals" in my area and found companies (closest about 2 hours) and found people advertising Tapco Thumps and Yamaha ELX. Maybe I'm overdoing it...lol
Old 3 days ago
  #16
Gear Maniac
 

Local downtown improvement committees tend to have low budgets. They sometimes handle bigger money from grants, but otherwise, most of their money comes from a line item in the town's budget, and sponsors that are local businesses who are really expecting a return for their contribution which is often elusive. They tend to break down to whatever they're willing to give as charity if the improvement-thing is at least a 501c3 so they can deduct it.

You can do as well as the 2xBehringer with the EVOX you already have. I read the EAW system was a rental and not an investment. I suggest it's an unnecessary expense. If you are looking to invest more in your inventory, pick any upgrades or additions based on what actually pays for them.
Old 3 days ago
  #17
Lives for gear
 
dickiefunk's Avatar
 

If you're considering the RCF 708 or WSC KW181 I recommend checking out the RCF 8003asII subs! I've also heard some of the FBT Mitus tops (not the 114 you listed) and was very impressed with them!
Old 3 days ago
  #18
Lives for gear
 

Quote:
Originally Posted by DJStevieRay View Post
FWIW: I Googled "sound production companies" and "live sound rentals" in my area and found companies (closest about 2 hours) and found people advertising Tapco Thumps and Yamaha ELX. Maybe I'm overdoing it...lol
If your aim is to only be able to do what everybody else is doing...do as well as the two Behringer boxes on sticks, then yes you're overthinking things. But only you can make, what is really a critical business decision.

If you want to move up, then move up, not sideways, and if you do choose to go with some MI boxes like everybody else, you better hope that they are unprofessional and are no good at their jobs, because this will be the only edge you will have.
Old 3 days ago
  #19
KEL
Lives for gear
 

Clearly, RCF, Yamaha DSR or Qsc KW wouldn't be a sideways move. You can't just say "MI boxes" without qualifications. A DSR stomps all over a Behringer , but it should for 6x the price.
Old 3 days ago
  #20
Lives for gear
 

None of those boxes can be arrayed, none of them have good, precise pattern control, none of them sound particularly good especially at a high SPL level in my opinion which severely limits their flexibility and eliminates them from being used on certain types of jobs. the fact that one model might sound better and louder than another model in this category changes very little in the broad scheme of things.

I do not know what his business can support, or which direction he should take, but I do know that the OP will not qualify for jobs that require better performance than "good enough for the price" boxes regardless of which of these boxes he has, and he did say he wanted to up the profile and performance capability of his company...well, apart from operating as professionally as possible, he will need equipment that was designed and built for professional operation, not more of the same.

Another thing to remember too is that having the "right" gear/brands means a lot to customers even when they don't know anything about live audio...it's a fact of life in this business. Going the pro route now does not prevent or stop him from adding to his MI box inventory later if thats what he wants/needs, it's just a different aspect of his business.

I think that buying more QSC, Yamaha etc., is moving sideways, not upwards...and if moving sideways is what the business requires then so be it, I'm pointing out things that should be given serious consideration.
Old 3 days ago
  #21
Here for the gear
 

Thread Starter
Thanks everyone for the advice. It seems my initial thought of renting the EAW system was/is the right thing to do.
Old 2 days ago
  #22
Gear Maniac
 

A question you should consider is whether renting the EAW for this event will "up your profile" in a meaningful way. Because when the rental is over, the EAW's go back, and you are where you started, except for any impression that was delivered. It could be doubtful that there are other customers for pro systems at the festival, doubtful there are any customers at all or that it will even generate a lead. If there is a market for a pro-level provider in your area, it didn't manifest at last year's festival. Why would it be there now?

The money for pro-level providers is usually in cities and resort areas, not small towns of 5000. Look at pro-level if your business is moving into the Philly or New York markets.
Old 2 days ago
  #23
Lives for gear
 
mojo filters's Avatar
 

Quote:
Originally Posted by Calneva View Post
A question you should consider is whether renting the EAW for this event will "up your profile" in a meaningful way. Because when the rental is over, the EAW's go back, and you are where you started, except for any impression that was delivered. It could be doubtful that there are other customers for pro systems at the festival, doubtful there are any customers at all or that it will even generate a lead. If there is a market for a pro-level provider in your area, it didn't manifest at last year's festival. Why would it be there now?

The money for pro-level providers is usually in cities and resort areas, not small towns of 5000. Look at pro-level if your business is moving into the Philly or New York markets.
You make it sound like any impression that was delivered is merely a by-product of some greater scope of ambition, not a legitimate objective to be pursued?

The important factor when assessing the suitability of the suggested EAW hire package, is not a question of who the potential customers in the audience are - but how effectively will that package achieve the desired objective, in providing sound reinforcement for this event?

The argument above is so flawed, I have to ask - are you the malign influence trying to sell this poster the MI boxes already mentioned?

The whole point of renting for this event is to provide an adequate PA system. The reason no one is suggesting the OP go out and buy a pile of trap boxes, is that this particular event doesn't appear to be typical of that which the OP currently provides (or aspires to regularly provide for) on a regular basis.

First and foremost the OP is trying to do a job here, not impress random members of the audience who may become future customers. I've no idea where the above priorities I quoted would have come from?

If there are future customers for the OP in this audience, wouldn't they likely be impressed to find the OP was level-headed and sensible enough to know when they should hire in specialist equipment for larger jobs, and when to use their own inventory?

If customers don't appreciate that, I'd question their priorities!
Old 2 days ago
  #24
Gear Maniac
 

Quote:
Originally Posted by mojo filters View Post
The argument above is so flawed, I have to ask - are you the malign influence trying to sell this poster the MI boxes already mentioned?
No. You can read my suggestion above that they use what they already have. My argument is based on the proposition that the small town festival with a mostly incidental audience doesn't offer any business opportunity beyond the fee. There's no return on investment that justifies any greater expense.
Old 2 days ago
  #25
Lives for gear
 

So the objective should not be about doing the best job he can then... There are no potential clients in the audience so just put two boxes on sticks, do as little as possible, and call it a day. This is the kind of attitude that ensures he'll be just a small time operator forever.

The biggest return on investment for successful people is knowing that they did a great job and every body is satisfied.
Old 2 days ago
  #26
Here for the gear
 

Thread Starter
OK everyone be civil (said the new guy). I think I understand Calneva's point, which is to not make a heavy investment. Which I am willing to do, if the investment will server well for future events.
Old 2 days ago
  #27
Lives for gear
 
mojo filters's Avatar
 

Quote:
Originally Posted by Calneva View Post
No. You can read my suggestion above that they use what they already have. My argument is based on the proposition that the small town festival with a mostly incidental audience doesn't offer any business opportunity beyond the fee. There's no return on investment that justifies any greater expense.
Unfortunately the implications are that the OP will provide a poor service.

Unusually for this type of enquiry, this OP didn't come merely seeking validation of some unrealistic idea. They've had some constructive advice both here and over on the other place, all of which has been received well, in the spirit of the original enquiry.

If the OP's question had been how cheaply can I do this gig? your point may have had more relevance.

The OP specifically mentioned sound quality as a key driver behind their decision matrix for this process. I think it is apparent they aspire to exceed the job done by the previous provider, and seek to maintain if not also enhance their reputation as a small scale provider in this locale.

If the OP only sought to equal the previous attempts to fulfil the sound reinforcement requirements of this event, then they already own some MI powered gear that will surpass the performance of the Behringer boxes used last time.

The OP is not only after good sound quality, but avoiding environmental health noise pollution issues. Hence it makes sense that both those objectives can be better fulfilled via the use of a more appropriate product.

The suggested KF650s are far better suited to providing both good sound, as well as putting that sound in the places it is wanted - and away from those places where it creates a problem.

None of the powered MI solutions proposed, have the kind of pattern control to address the noise abatement concerns if used at typical concert level volumes.

The OP has shown an unusual enthusiasm for taking care of making the right decision - let's not derail that pursuit with misleading contributions.

Just as the good name of the OP will be on show for all to hear, if they undertake this event - so is the good name of this message board and the advice provided therein. Neither parties have an interest in screwing anything up!
Old 2 days ago
  #28
Lives for gear
 
mojo filters's Avatar
 

Quote:
Originally Posted by DJStevieRay View Post
OK everyone be civil (said the new guy). I think I understand Calneva's point, which is to not make a heavy investment. Which I am willing to do, if the investment will server well for future events.
You might find the best investment you ever make is a hire, where you learn how owning equipment always comes with a cost - and the canny operator often only invests in kit that no one else is providing, to complete the inventory they need to provide to clients with a full service.

You may find that your local market does not reward providers sub-hiring in as needed.

Getting ahead in the sound reinforcement business is all about knowing what the customer wants, and providing it whilst spending as little as possible.
Old 2 days ago
  #29
Here for the gear
 

Thread Starter
Old 2 days ago
  #30
Lives for gear
 

This was an announcement of the event, not a coverage of it, it doesn't give any details of the events. Anyway, you could ask the organizers if they had received any complaints or compliments regarding the entertainment.

If their were complaints and/or compliments you should take a look to correcting and enhancing where appropriate. But make sure you get a complet bill of what they need and expect from you.

If nothing else you will get the chance to discuss any unreasonable expectations and avert misunderstanding. By the time festival day rolls around you should be cruising and just keeping an eye out for unexpected eventualities.
Loading mentioned products ...
New Reply Submit Thread to Facebook Facebook  Submit Thread to Twitter Twitter  Submit Thread to LinkedIn LinkedIn  Submit Thread to Google+ Google+  Submit Thread to Reddit Reddit 
 
Topic:
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get instant access to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump