Pancho

When it comes to problem solving before or during a live concert, the big national tours and concert venues are better able to solve their technical problems before a show. They are well heeled enough to have back-ups for all the critical gear—mixers, amps, speakers-- and on-site technical support from vendors hoping to boast that their latest gear was used at that high-profile event. And, since set-up crews typically work a day or two in advance, most technical glitches can be identified and resolved without the need to cancel the show.

But smaller regional concerts can’t generally fall back on a cushion of redundant equipment; so technical problems can prevent the show from going on.

“At smaller venues, if something goes wrong before or during the concert, then you have a problem. I trouble-shoot those kinds of situations all the time,” says Pancho (born Wilbert Lichtenberg), the bench tech for ISI, (Ironman Sound Industries), in St Louis, a leading supplier of sound equipment and mixing services.

Among ISI’s regular customers are Blueberry Hill, which presents national acts for audiences of 390, as well as Fat Tuesday’s, a club where mostly local cover bands perform to a 600-member audience. ISI provides sound equipment, and FOH and monitor mixing, which at smaller venues is usually done from a single Soundcraft 56-input desk for greater cost-efficiency.

Chuck Berry and Bob Horner

Besides his affiliation with ISI, Pancho also runs PAR Electronics, a certified repair shop for pro sound equipment, including amplifiers by Fender, QSC, and Peavey. In his experience as a bench tech, electrician, and on-site repairman, Pancho says that technical problems can be grouped under the headings of equipment abuse or misuse, faulty electrical or cable connections, or wear and tear.

While it’s possible for cords to be accidentally crushed or yanked and for equipment to be dropped during set-up, Pancho says the most common cause of equipment failure is the spilled mixed drink. In a small crowded venue, it’s difficult to prevent the approach of drink-wielding curiosity seekers. In an instant, the mixing desk can be put out of commission by sodas and mixed drinks cascading over the console and seeping into the internal circuitry.

Before identifying the parts damaged by spills, Pancho must first tear the console apart and scrub the icky, gooey mess off all surfaces with soapy water and a toothbrush, then thoroughly dry everything with a hair dryer to prevent further damage when the unit is plugged in. “Fader damage from spilled drinks is the most common problem for consoles,” says Pancho.

“With some less expensive mixing desks, it’s not always worth repairing them. More expensive models—like Crest, Midas, and Yamaha units— sport a modular design comprised of 40-60 modules, or channels, which can be removed individually and replaced on site,” says Pancho.

“But less expensive mixing consoles, like popular Mackie and Peavey mixers --generally have multiple channels on single-board technology. Some of the less expensive single-board models can sometimes be less expensive to replace rather than repair. Considering the cost of parts and labor, some people decide it’s better to just buy a new one rather than repair it.”