Bob B and grab are right on the money...

I've been "in sound" for 40 years - both live and recording - and would not contemplate doing on my own what the OP is suggesting.

Working the desk in a live gig has to be instinctive. That means knowing exactly where every control is, what it does and what difference it will make to the sound. There's no time for thinking! I can find my way around most analogue desks pretty quickly, but digital desks vary so much that I'd want to be experimenting with one for probably a working day before being confident in using it live and that's taking into account my understanding of live-sound in general.

... and then there's the whole aspect of what mics to use, where to position them, deciding if a DI would be better etc etc and knowing what EQ settings you'll probably need.

Similarly, although a 'every source to its own channel' multitrack removes some pressure there's still work to be done in watching all the levels.

The OP may think this is the old farts being reactionary and pretending this stuff is far more complicated than it actually is. Although I'm an old fart, I'm a great believer in mentoring new operators who show a keen-ness and willingness to learn. But to pretend that this stuff can be done on a "you'll soon pick it up" basis is just not true.

Quote Mike Stranks:

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The OP may think this is the old farts being reactionary and pretending this stuff is far more complicated than it actually is. ... But to pretend that this stuff can be done on a "you'll soon pick it up" basis is just not true.

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I'm not an old fart, and don't have any real experience of FOH, just being in a band, and having a couple of guys who know their way around the desk who play in the band - easily over 30yrs experience between them. It still took us a full day to set PA, desk, backline etc up first time we used it - and we still made changes at subsequent rehearsals, not just to the knobs, but what went thru it, how we mic'd stuff up and so on. We've even had "sound engineers" with a bit of experience, and they've completely fluffed even the basics mixing live. And it's not something I'd think of doing without a good few full day sessions under my belt.

So work with your band - you say you're their manager - and work with someone who can show you the ropes over several serious rehearsal sessions. If not at the venue, at a rehearsal room somewhere and/or borrow a rig. THEN come back and ask some more questions on here when you've actually seen what the kit does.

Maybe it might help folks round here if we had a bit of an idea of what music experience you've had, which instrument you play/what kit have you got? Have you done any home-studio work? And apart from being a 500-ticketer in June, how long have the band been together, will this be their first gig, are they practicing regular at the moment etc.

Zepfan. Good luck with the project. Can you promise us one thing tho? Can you upload some of the content from your array of digital cameras to YouTube so we can check out how you got on? I'm looking forward to watching a guy who doesn't seem to know the basics - like how to put a guitar amp thru a PA system - attempt to mix, record and film a live gig, all at the same time, all by himself.

But seriously ... I have several years experience doing FOH and I can state this bold, hard fact with 100% confidence - you are wwaaaayyyy out of your depth. Take advice from the many helpful posts above, which if followed will greatly increase the chances of a successful outcome.

Sorry dude. Just re-read my post - whilst I stand by what I said, I could have said it more politely!

Seriously though, when you've got 500 people in a decent venue with nice gear, and presumably these people are paying for tickets and you're paying to hire the venue, then you're talking a serious enough gig that cutting corners on hiring a proper soundman is pointless. If you're the band's manager then you must realise the importance of sending the audience away happy so they come to the next gig.

I definitely agree that long-term, having your own FOH engineer will be a good thing. If you've got the ears and the inclination to be that person, then definitely go for it. It's a lot of fun doing live sound, and you get a huge buzz from knowing that people had a great gig. But you're a *long* way away from being ready to do it yourself.

If there's a local club/venue where you could get out maybe 2-3 nights and do some sound work, with the help of a more experienced soundman who can show you how to do stuff properly, and you read up seriously on the theory of all the various gear and how to use it properly (EQ, compressors, limiters and gates at least) and practised using them each time you were out, then perhaps by June you'd be ready to do a reasonable job yourself. Even then though I'd still be hiring the venue's soundman, bcos you won't know that desk and that venue's system.

Quote Zeppelifan:

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I'm the FOH engineer.

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There's only one way to say this - and it's been said above, but needs reiterating. You're not. Judging from your questions so far, you're not prepared to be a sound engineer and you simply won't be by June.

FOH work isn't simply a matter of jiggling faders until stuff sounds good. You need to know how amps work, how desks work, how mics work - do you use a dynamic or a condenser on a guitar cab? What's the best polar pattern? What frequencies does the room ring at? What does "ring" mean? What reverb settings should I use? Should I gate part, all or none of the kit? What's a gate?What about vocal compression?

Believe me, recording a gig NEVER goes smoothly to plan. So you'll inevitably be put in a position where you're trying to problem-solve while you're supervising 4 cameras and do an FOH mix and maybe run a monitor mix, too.

NOT GONNA HAPPEN.

I appreciate this sounds just plain nasty, but it's not. If you listen and digest what you read on here, you stand a chance of pulling this off. The guys who post in these fora have more experience than you could possibly imagine. So get somebody on board to help you - somebody who knows how to do the stuff you want done. Watch them. Talk to them. Learn.

If you try to do what you want to do at this gig on your own without help, you'll fail, I guarantee it. The gig will sound bad, the recording will sound bad, the band will be pissed off and so will you. Honestly.

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"We knocked on the doors of Hell's darker chambers..." But no-one answered, so we went to the pub instead.

That's the point I was trying to make. I learned how to do FOH, badly, on gigs that didn't matter too much with second-rate equipment when I was pretty young.

If my 17 year old self asked me whether he should be taking on this gig I'd be telling him to wake up and smell the coffee.

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Gear List: reverse only.

Thanks for the replies, I'll start practising audio mixer one of these days.

Another question: can I get a feed of a live camera on a projector?

Quote Zeppelifan:

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Thanks for the replies, I'll start practising audio mixer one of these days.

Another question: can I get a feed of a live camera on a projector?

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Yes, if you have a dedicated technician who knows what they're doing............................

Bob

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www.bickerton.co.nz

Yes. Most cameras that I have used, admittedly not recently, have a composite video out that can be fed to a projector while the camera is in use.

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Gear List: reverse only.

Does this camera have the A/V output? http://www.amazon.com/Sony-HDR-SR12-Definition-Camcorder-Stabilized/dp/B00 123WDR2

Manual here

Yes it looks like it does.

Well, my plan is to get a mini-HDMI to HDMI cable and connect it to a full HD projector. And we'll have a big projector screen behind the stage. Will it be effective?

The biggest problem is that you need somewhere to put the projector where the band won't cast silhouettes on it. If it's a deep stage then that's fine - put the projector behind the drumkit - but if it's only a small stage then it could be tricky. Unless the screen is higher than the band, of course, but then it's not exactly a backdrop.

You're also going to need to get the HD pics over a fair old distance, and this is likely to be more than a basic HDMI cable can manage. So you're going to want an HDMI extender of some kind.

You're going for the full multi-media event then? :-)

Hope the band's really great, and you get a full audience. Who are they, anyway?

Don't forget to keep one hand on the lighting console.

Quote aekoi:

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Can you upload some of the content from your array of digital cameras to YouTube so we can check out how you got on?

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What about streaming it live?

Hire someone with a recording rig.

Myself, I have a StudioLive 24.4.2 and a 16.0.2 either would handle the job. A split snake, and it would be a piece of cake to multitrack the night for you.

Hell, I'd do the tracking for $200 for the night, then you could have the tracks and get someone to remix it to your hearts content.

Or throw a Zoom Q3 out front and capture the night quick and dirty.

Hey Zepdude. you've gone a bit quiet. Have they asked you to do the guest list as well? Take two biros cos you always lose one. Looking forward to the video.