Moderator: Welcome everyone!

Brad Nelson: Hi Cubby, Now that you have mixed on V-DOSC, Clair I-4 and VERTEC line arrays, which do you like better and why?

Cubby Colby: Tough question, Brad. They all have their own priorities. The VERTEC seems to be the easiest to rig. The V-DOSC is everywhere in the world. The I-4 is also a good line array, also with very good rigging. But most importantly they all sound very good.

For me, technically, V-DOSC and VERTEC have their priorities - the way they go about putting the system in the room, there's more of a technical approach to it than there is with the I-4. I like the use of the laser pointer that gives you the distances of the line array from the top seat and the closest seat, and with that information, you to put in the exact trim height, cabinet display, and pullback so as to get the best coverage from front to back. Line arrays in general, from my experience, are all getting better and better and better.

P. Tucci: Why do they sound good? (Compared to, say, a stack of S4s or a Prism rig?)

Cubby Colby: For me, the development of the low-mid horn on the V-DOSC box is what I fell in love with at first. All the line arrays seem to have a warmer and certainly more time-aligned low-mid to mid-range sound that I've been wanting to get from the Prism rig for a long time. Once the line arrays have been properly installed, the coverage from top to bottom, I feel, has been a very big improvement compared to the traditional old stacks.

Also, the power that comes from such a narrow line array is amazing. With touring these days, and large theatrical sets, it's extremely hard to get in a traditionally huge left-right hang. So not only do the line arrays work really well, but they work really well within very small footprints. I still love the Prism system. It always was a great system and it always will be a great system, and I enjoyed mixing on it and will enjoy mixing on it in years to come.

Scott Fahy: Is it true one of the first times you did a rehearsal on a Prism rig you blew out a bunch of low-end speakers, or was that a rumor?

Cubby: Rumor. As a matter of fact (and you can check with Showco on this), I believe I took out less than a half a dozen drivers in the last 15 years I've used the system.

Chris Kathman: Wow - not bad!

Harry: What do you consider important in a touring company?

Cubby: Personnel and equipment. Personnel, to me, is the most important part, because these people are the ones who accompany the equipment. Let's face it, all of the gear provided by sound companies is generally very good. But it's the personnel who install the system day in and day out, do preventive maintenance and have fun doing it are what make for a great sound company.

Moderator: The next question was asked by many, so it must be important to everyone. I'll go with the guy that asked it first.

P. Tucci: What kind of relationship do you have with the systems people working for you? Are you hands on with set-up?

Cubby Colby: I believe that all system engineers are capable of getting the system up and running in its most efficient way. I feel that the system engineers that I've worked with (many of them) have all enjoyed being part of the set up and this hopefully gives them some sense that all the hard work they've put in all day leads to satisfaction by the end of the night that it was a good mix.

I truly love working with system engineers that like this type of relationship as well. I don't want the guy just to set up the PA and then take it down without getting his head around the drive rack of the system. By doing this, he is always part of the team that achieves good sound at the end of the day. For me, once sound check starts I'm on my own. From the start of sound check until the end of the show, I am on my own.

System engineers are extremely valuable for large tours. There have been many times when I have not been able to be there (at a gig) until sound check.

Scott Fahy: Do you prefer mixing in a smaller (under 4,000) room or a larger arena/shed environment, and why?

Cubby: Hi Scott! I would have to say I love arenas. The line array systems and the Prism systems and a handful of the other systems can make bad rooms sound good. I enjoy the atmosphere of the big arena (when it's sold out, of course :) ), the energy of the people and what they bring to the show. I get a lot of energy from that. I have a better sense of feeling that the audience is getting more out of the music and more out of the mix.

I also like theatres. I just finished a really great tour with a very good singer (Donny Osmond) and a nice string section, and to mix in theatres was a different challenge. And although it was such a soft mix, I still wanted to achieve the big, dry bottom end. So all venues, for me, are a challenge, but arenas are sometimes the most forgiving.

P. Tucci: Are you an old school "check one, two" guy, or are you dual-channel measurement savvy?

Cubby: Old school "check one, two". I carry a Beyer 88, and I know my voice, and for those of you out there who know me, I can do a pretty mean kick drum with just the microphone and my mouth.

Chris Kathman: Cubby Colby, human beatbox, y'all!

Moderator: The Old Soundman would be proud.