My name is john Byrne. My name is Justin Greeley. We're at the plug in Sheffield. To demonstrate a lot of techniques we as sound engineers use in different venues around the country. We chose the plug because there's two actual venues here. There's a smaller venue and a slightly larger venue about 1000 capacity.

And they're very much typical of venues in this country and to be honest around the world. Right. Well, it is. Let's see if we can find a way in around the back as usual suspects. Nice easy, nice, decent size rolling shutter struck right up to that. Yeah, this ramp straight with the stage.

Oh yeah, look at it. nice flat boys straight into the room. Nice easy loading for us don't have a look, but we're just gonna look in the room. Well, john, it's always a pleasure is it not to walk into a nice tidy venue and one where the stage is clear as well so it's not cluttered at all you can get to work straight away. It looks like there's enough PI System there for the room. Yes, so this will take a look.

Look around, see what we've got to work with. So, let's quickly look at the speaker said they look like at Cafe 50s. That's exactly what they are john. Made in America, probably at least 10 years ago, at least in his these days. They're not the newest box around now they still look at box. They're not that old rock and roll box really.

There's three loudspeakers in each box there's a 15 inch with the base. There's 10 inch that does the mid range, which is on the horn flare that you can see the phrase bung in at the top of the Have a note. And then there's a two inch compression driver on the directivity fiberglass flat that is on the bottom of the cabinet. And the 15 is actually behind the fiberglass. Yes, directly behind it. They're, they're in a concentric line, right?

And they don't really interfere with each other at all actually, because the frequency ranges a while apart and the mid range is dealt with the other part of the cabinet. And it's a good box is a box that we've I've come across many times before and yeah, a good start really what's going on with this question actually, they've done what they've done a lot of clubs. They put the subs under the stage. This is a really convenient thing because it keeps the subs subs are usually quite deep. I took a lot of real estate, so it's very popular for clubs to actually put the subs underneath the stage. They're kind of out the way and it takes up less dance was like get more people in here.

It's difficult to summon how many suffer. We got in here, Jessica. Well, looks like there are six of these flare audio guys under two AI w subs, which actually if you look we look closely we've both noticed that there's actually no speakers in the the 850 subs, so they're just kind of being used as fillers to keep these flare audio subs apart. The flares are nowhere at 218 so it's a it's 2000 watt Beymer drivers in each cabinet. So that's quite there's actually six subs for the size of the room. We've got quite an quite a reasonable amount of speakers, especially for club besides we're doing pretty well really.

Okay, so what we've got here we've got the the two flower sub cabinets, to baiting cabinet. they've actually been strapped together as you can see, so it's actually making quite one big solid unit. As you can see the cabinet is actually split into two bits. You've got an 18 inch at the top part, an 18 inch on the bottom, and it's on a folded horn. That means it's actually inside. It's a bit like a snail shell with a spring At the back, and then the sound comes out and brings out the waveform.

So actually takes quite a lot of time for the waveform to develop. So 18 coming out that way, AC come out the bottom, that's going to join up and the waveform should all join up to make a huge noise out here. Hopefully. While we're in the middle, at the front the barrier, I know this subject that's very dear to your heart just an answer to mine as well. Yeah, john, it's true. There's, it's an unfortunate fact that very often, in a situation like this in order to best cover the room and to avoid the potential of feedback on stage, that particularly in the high frequency area of reinforcement, the loudspeakers don't actually cover this little area very well.

We're only talking about four or five people here. But for me, these are the people that have been waiting outside in the rain for four hours to get best possible view of their favorite pop star. They're the people who deserve the best sound in the room, not the worst. And I'm looking at these boxes, I would say that that is probably going to be a little bit of a dead spot. Well, I'm just standing here. And it's not until I really step back to hear that I can actually see the horns.

And without being able to see them, I find much doubt if I can actually hear them, especially with these because these are CD horns. And constant directivity means I won't actually be able to hear them until I sort of step back and actually can see what they're all about down the throat. So we've got to kind of dead area here. So what was what would you do about it? Well, there's a couple of things that we could consider. We could maybe move the inside boxes looks like it's not going to be very bad.

I actually chained up quite nicely. Yeah, they are. Well, in that case, maybe we could use a small monitor speaker or you know, just an extra wedge on on a single mixer. Match events, and just put it right in the middle, there's going to be a pair of wedges that are any wife. So yeah, we've got enough speakers, one, maybe the side of the stage. Yeah, we could do a little stereo down here that we miss this is a thing that's problem that's become increasingly, increasingly stays with any monitoring, mainly because it's so much quieter on stage.

And if you don't have wedges, everyone's using in ears, there's very little sound coming off the stage. So you become increasingly reliant on the PA system. So little areas like this, you're not going to hear the vocals. And to be honest, the most important single thing again, as we will frequently tell you, is hearing vocal about letting people pay their ticket money to hear the words, especially the people who here who are they are fans. So we're going to look at that later on when we start building up the system and see if there's anything we can do with speakers in house to actually cover this area. Yep, we certainly will.

So let's move on. And I think we've got to find the house engineer who we found out before. He's called out So I think we should go in search of him and investigate a bit more about the system. So most gigs this size have got like a regular house engineer, someone who looks after the system here we got a guy looks after the lights and the sound guy could Adam. So we're going to go inside. This is the out rooms we've got all the different the amplifiers and it's like the store cupboard and everything.

It's kind of his worlds who's going to go inside and try and find him now. See your house engineer here you'll see that you look up the sound and I believe you have the misfortune of looking out for the lights as well. Yes, you can the jack of all trades failure. Thanks for talking to us. And I noticed this you've got the amps in here. What are the different amplifiers doing the ankles running the 850s has it set up in here?

Yeah, we've got the arm Chrome's driving the 850s got to here in power mono. So we've got the highs in on their mitts right on the Dempsey that I'm 15th on the bottom to their boxes. stream by the FAA 10 case, and that's for the flow audio. So that's the flare audio subs on to the stage. These are just for the infills at the back of the room and that's for the small back room, which runs through a time delay as well. Yeah, because this room is actually there opened up because remember, I've only ever been here once before we actually opened up the back because you can pull back the curtains.

Yep, got some curtains in the shadows that open up. So we've got a time delay. So when people are still not gonna get any kind of procedure, the extra is there for the main system the crossovers for that although Yeah, we've got one for left one for right so if heaven forbid for a gig one did fail, you can we can live through the gate on one side. And then that the BSS ones the backroom. Yeah, and like I say, you can delay the input on that. Yes, actually make a time delay.

Yeah. So if there's something we were talking about bit later, but you can delay the speaker so it's actually can't sound arising the back at the same time as the main Yes, it's coherent. Yeah. Yeah. ankles, good old advice, their work workhorses. Don't run the coolest.

The FFT is F a phaser. A much more modern amplifier nearly nearly fully acid cool. But these just keep going for years and years and years I used to solve this the great amplifiers, and very powerful and this is running the the mid high boxes, the 15 the days and once again, things are running the flow yourselves. So thanks, Adam. Yeah, and spit up like oh, yeah, thanks.