Toby Keith - American Ride Tour - Mobile Production Pro

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SoundChai Wallahs PushSoundcraft Vi4To The Max At Green Man FestivalSound company Hark provided a Soundcraft Vi6 console at Green Man’s second stage (the Far Out Tent). Photo Credit: Ian HunterOne of the fast emerging collectives on theUK festival scene are the Chai Wallahs,whose increasingly familiar marquees arededicated to providing an eclectic blend of musicappealing to different lifestyles.one touch away.“One factor that grabs you immediately is theintuitive interface and the user programmablefader pages, while the sound of the desk isalso excellent — the parametric EQ’s arevery accurate and analogue sounding. This isalways my ‘go-to’ desk — there’s no need tolook anywhere else.”Founded three years ago by Si Chai, today,Chai Wallahs attend a number of summercalendar events — including Green Manin the Brecon Beacons — and are quicklybecoming seek-out destinations.Inside the organic-looking structure aselection of the UK’s finest undergroundtalent and established Afro-beat, Funk andReggae artists perform alongside DJs in afree-form mix, with the emphasis on acousticmusic earlier in the day. It also provides itsown chill area in the form of a unique cafébar.Green Man has become one of ChaiWallahs’ more recent destinations, andafter their debut last year, this summer theywere again out in force, with London-basedsound engineer Harry Bishop piloting aSoundcraft Vi4 in the 800-capacity tent.“The Soundcraft Vi is my weapon of choice,”said Bishop, who last year took Soundcraft’soriginal Vi6 digital desk around the festivalcircuit.This time around the Soundcraft Vi4 hadbeen sub-hired in from Mark Hornsby’sPA company Hark, with whom the soundengineer has a close relationship. Hark alsoprovided a Vi6 and Vi1 at Green Man’ssecond stage (the Far Out Tent).Harry Bishop has been an aficionado ofSoundcraft mixing desks since the early daysof analogue, and remembers mixing on aSeries I board at Plan B in Brixton manyyears ago. “I am very familiar with theanalogue desks but the Vi is a step above, andmy favourite digital desk,” he says.The reason for this is the easy transition itoffers the engineer from analogue to thedigital world. “The most obvious factor isits analogue feel because the channel strip islinear, it’s not multi-layered, and everything isChai Wallahs choose their own roster ofartists who rarely bring their own productionand so Harry ends up mixing most of theperformances — a situation with which he isentirely comfortable.With at least ten bands a day operating forfour days without sound checks, providinglive audio is no easy task. But from a genericfestival patch the speed of access the Vi4affords, provides the opportunity to changedesk templates with ease.For many of the repeat performances Bishopcan simply dial up the stored show mix.“Inside the desk structure I use the snapshotsto recall the different band mixes and whena new band comes through I recall a ‘linecheck’ snapshot which provides me with aclean slate to work from,” he says.The desk provides him with a highlyflexible mixing environment he says —notably because of its zoning and monitorcapabilities.6 mobile production monthly
harman.comIn fact with 27 output busses, eachcontaining parametric and graphic EQ, hehas a near endless ability to zone differentareas, set delay times, assign record groupsand monitor sends.“Because we have a number of zones [toaddress] I set quite a detailed programmewhich I design on the offline editor. I havea sub array, which I can control on thematrix, I have delays and a café seated areaon a different matrix. It’s quite an in-depthdesign.”His tasks also involve creating five monitormixes via talk-to-stage whilst using the shoutbox to communicate with the stage manager.This summer Harry Bishop has trucked histrusty Soundcraft desk around other UKfestivals such as Glastonbury, Secret Garden Party,Bestival, Shambala, Beach Break Live, Manifeston the Isle of Man, Sunrise and Electric Picnic.And thanks to his Soundcraft Vi4 he canreflect on a job well done.Bishop followed this by undertaking PA techduties on a short Groove Armada club tour,where another Soundcraft Vi4 was deployedfor stage monitors and a Vi1, Soundcraft’snew compact derivative, was at FOH. )773.862.4246 | sales@eventric.comMaster <strong>Tour</strong> is the industry’s leading tourand event management software.Thousands of professional touringorganizations are using Master <strong>Tour</strong> toplan, manage, and track the art andbusiness of touring - why aren’t you?Head to eventric.com/demo fora free month trial!mobile production monthly 7
Page 1 and 2: volume 3 issue 10 2010
Page 3 and 4: Lift, Track, and Move Any Lighting,
Page 5 and 6: contentsvolume 3 issue 10 2010Toby
Page 7: Los Angeles Convention Center, LA,
Page 11 and 12: completely blank canvas to show jus
Page 13 and 14: FROM Karl KuenningIt was a rainy da
Page 15: Alicein ChainsFun on the Road.As Bl
Page 18 and 19: center video wall. With the center
Page 20: Commercial grade quality and compet
Page 23 and 24: At first blush Toby Keith’s 2010
Page 25 and 26: was put forth by long time FOH engi
Page 27 and 28: to a country beat. In the current e
Page 29 and 30: Lance Stoner - Tour Rigger/Drum Tec
Page 32 and 33: mpmBandi Lites mpm featureBandit Li
Page 34: Syncrolite mpm featureSyncroliteWhe
Page 38 and 39: Bandit Lites continued from 30Bandi
Page 40 and 41: Moo TV continued from 28Even within
Page 42 and 43: ADVERTISER’S IndexAccess Pass & D

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