Getting Wired:

With dozens of cable pairs running to and from the stage, when sound isn’t reaching the mixing board, the problem can often be traced back to the snakes or multi-pin connectors, which are more commonly used and afforded by larger venues. Since different bands plug in their equipment to the house sound system day after day, some bands find themselves inheriting a problem caused by the previous band’s crew.

“When I come in to trouble-shoot, I first determine whether the problem is in one of the snakes, if it’s in the way the multi-pin connector is plugged in, whether some pins are damaged, or if there’s a bad cable in the bundle,” says Pancho. “And since one multi-pin connector might have 150 connections inside, this is a difficult problem to solve on site. When time is short, one option is to bypass that bad channel and substitute another snake that doesn’t use multi-pins.”

Other problems he’s witnessed on site are faulty electrical wiring that fries the amps, speaker wires chewed by rats, and PA’s damaged by the elements, like lightening. Oftentimes, problems are compounded by a chain reaction, like faulty electrical systems overloading speakers and amps.

A Great Year for Amps:

As a specialist in analog tube amplifiers, Pancho says that some customers have brought him the same amplifier for repair over the last two decades. “Compared to solid state digital amps, some guitarists feel that ‘the only sound there is’ comes from 1950’s-1960’s vintage tube amps, like the Vox AC30 amplifiers, old Plexi Marshall’s, or Tweed Fender’s.

“Many people believe that tube amplifiers accentuate the odd harmonics for a warm, rich, euphonic sound, while digital amps accentuate the even harmonics, producing a more sterile, metallic sound,” says Pancho.

While solid-state means low maintenance, however, tubes have a finite lifespan of about one year on average (although, Pancho has seen 10-year-old tubes still functioning.). And when the mica inside the glass tube breaks down, the tube “has gone harmonic,” and will begin to vibrate, causing a rattling sound through the amplifier. Besides replacing burned out tubes, Pancho also modifies the 2-way cord with a grounded 3-way plug that insures against 120-volt shocks when guitarists grab the microphone.

“Vintage tube amps that went for $300 in their day now go for as much as $1700,” says Pancho. “And they’re very much in demand worldwide, especially in the U.S., Japan, Germany, and The UK.”

Delivering a Quality Product:

At times, high-profile acts, like Graham Parker and Chuck Berry, enjoy playing small venues—like St. Louis’ Blueberry Hill-- where they can really connect with the audience. “In a small, intimate venue, people leave satisfied that they could really see and hear their favorite bands perform,” says ISI’s president Bob Horner.

“Of the 400-500 shows we do a year, very rarely do we have technical problems. All of our rigs are pre-tested before they leave the shop. We provide regular maintenance and break/fail very little equipment. Most of the problems we do encounter are usually with the gear the band brings along for their backline,” adds Horner.

While ISI assures quality control at its regular venues, Horner says that soundmen who must work at unfamiliar venues would benefit from checking the quality of the house sound system. Among the tools he recommends that they carry along are SIA Smaart for system measurement, a Whirlwind cable checker, and a Galaxy Cricket to check the polarity of the speakers.

“At our regular venues, where we’ve run and checked all the cabling, these tools are not that vital to have on hand,” says Horner. “But when traveling to different, unfamiliar venues, these tools help save time and prevent nightmare scenarios,” says Horner.

“Once the set-up is finished, good sound quality depends upon a thousand techniques or ways of doing things, from mic-ing to mixing, and there - experience counts,” adds Horner. “Besides the right tools, you need to know what your creative options are and what the consequences of your choices will be. In live sound, you only get one shot at it. I believe in producing a good show every show.”