Okay, now we're going to set about citing our control position and plugging all of the stage cables in that we've already laid out. The first thing is you will notice that our monitor position has been chosen. So as we have a clear and unobstructed view of the stage, and for the maximum convenience in terms of access whilst complying with our safety regulations, as you can see, we have a fire exit here behind us. As we need to keep the fire line clear. We need to give ourselves a comfortable working position where we have a good view of all of the musicians and the stage. Okay, now we come to the stage where we need to plug in the other end of all the cables that we've run under and along the front the stage we'll start with the cables that are Feeding the the wage monitors, which we're going to plug into the back of this rack here.

As you can see, it's clearly labeled with the mix numbers that correspond to the numbers that we've already put on the cables and on the wage monitors, simple and straightforward process. This is the main stage box. This is where we plug in all of the microphone inputs. And this is where the signal is split to the monitor desk, which is this little small format digital console here to the front of house desk, which is out there at the other end of the auditorium. And also if necessary, we have a third split here, which we can use for any recording purposes or broadcast or any third party system that needs to join in with the audio that's happening here on the stage. We've already labeled the sub boxes, and we've run the soccer patch cables underneath the stage.

I've run them over the box here. Because these connectors are relatively delicate in order to minimize the amount of strain that's taught on the XLR cables from the fan enters, we plug them into the stage box, try and keep the weight off them. So I've tried to keep the weight of the cable above rather than below the stage box so it doesn't have a tendency to pull the XLR out. This is the first soccer packs or soccer packs we labeled box a this is the for the drums and I will find the first four here. And okay, this is the kick out. Kick in snare bottom and snare top there are the first four channels, I'm only actually using eight of the 12 lines in this box.

We don't necessarily plug these in in an alphanumeric order. It's obviously depends on where the input on the state is located relative to the The stage plan. There we go. That's my first eight cables plugged in. Now that's the drums all plugged in the second soccer packs here the second 12 pair is for the stage right? inputs, of which there are six, I believe, two channels of bass guitar, two channels of keyboards, there's a keyboard right.

Here's the keyboard to the left. There's a bass di in here somewhere I do believe there it is and a bass mic and I have a stage right vocal. Obviously I've previously labeled this stage box so all I have to do is match the labels on the XLR to the labels on the box here. That's very quick and easy process. And there it is, you will see that there are some holes don't have anything plugged into them yet. Those are going to be coming For the instruments that are on this side, the stage left side of the stage, and they're sufficiently close to us.

So as we don't need to use a sub box, we can simply use long mic cables and plug them in directly. We call this home running them. And that is essentially how we plug up the stage. It is always a good idea to try and be as neat and tidy with these cables as we possibly can to tuck all of the tails that we're not using out of the way and tidy and cleanly manner. When we're operating particularly in a situation like this, it can get quite crowded quite busy around here. We have to make sure that there are no obstructions either in the front or the back of the amplifier rack because these amplifiers rely on forced air cooling that that is they have fans in them sucking air in through the front and exhaust detail to the back.

So if anything blocks the way of the front of these amplifiers, they will overheat. Usually they will fail. Also, we have to be careful about knocking the front panel with any equipment or knees or anything like that, because there are switches on the front panel of the amplifier that can turn them on and off or can mute them. Obviously a muted amplifier is if you if you need it to be on is a problem. And that's it. That's how we plug the stage up.